A PUBLICATION OF THE ALSCW Literary Study in Grades 9, 10

Transcription

FORUM 4 • Literary Study in Grades 9, 10, and 11: A National Survey
FORUM: A PUBLICATION OF THE ALSCW
Number 4 • Fall 2010
Literary Study in Grades 9, 10, and 11:
A National Survey
Sandra Stotsky
with Joan Traffas and James Woodworth
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Kate Oser, managing editor
Katherine Hala, graphic designer
Copyright 2010, all rights reserved by the Association of Literary Scholars, Critics, and Writers
a Association of Literary Scholars, Critics, and Writers a
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ACKNOWLEDGMENT
Like so many research projects, this one started with a discussion. At a meeting of the
Association of Literary Scholars, Critics, and Writers, several members asked: “What are
high school students being asked to read today?” My response was this research project—a
survey of over 400 English teachers in grades 9, 10, and 11 in public schools across the
country to find out what they assign and how they approach literary study.
I am grateful to the National Endowment for the Humanities for a grant to support
the survey, and to the Lynde and Harry Bradley Foundation for a grant to cover the costs of
publication and dissemination. I was fortunate in being able to draw on the research budget
attached to my 21st Century Chair in Teacher Quality in the Department of Education
Reform at the University of Arkansas and in having the University’s support for my time
as Principal Investigator.
I thank Kim Gillow and Molly Longstreth at the University’s Survey Research Center
for assembling a representative national sample of English teachers in grades 9, 10, and 11
and for Kim’s hours in synthesizing the information gathered by the interviewers and in
answering my questions about numbers and their interpretation. I also thank my research
assistant, Joan Traffas, who handled communications with the Survey Research Center,
worked with the Center to analyze interview information, and tracked down research
references. She was ably assisted by James Woodworth, a graduate student at the University.
As I worked on the ALSCW survey, I conducted with two colleagues at the University of
Arkansas a similar study involving more than 400 high school English teachers in Arkansas.
The results of this state-level study mirror those of the national study and serve to validate
it (see http://coehp.uark.edu/literary_study.pdf ).
I offer this report to policy makers in the U.S. Department of Education, state
departments of education, and institutions of higher education that prepare high school
English teachers. Its findings will be useful to those who seek to strengthen literary study
in our secondary schools and our students’ capacity to think analytically.
Sandra Stotsky
May 2010
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Association of Literary Scholars, Critics, and Writers
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EXECUTIVE SUMMARY
According to national assessments, the reading skills of American high school students have
shown little or no improvement in several decades despite regular and substantial increases
in funds for elementary and secondary education by federal and state governments. While
many possible influences could be examined, this study addresses an obvious one that has
been largely overlooked in recent decades—the school curriculum. What does literary study
look like in secondary English classrooms?
This study was designed to find out what works of literature teachers in grades 9, 10,
and 11 in public schools assign in standard and honors courses, and what approaches they
use for teaching students how to understand imaginative literature and literary non-fiction.
It excluded elective courses, basic and remedial courses, as well as Advanced Placement,
International Baccalaureate, and other advanced courses because we were interested in the
broad middle third of our students.
Major Findings
First, the content of the literature and reading curriculum for students in standard or honors
courses is no longer traditional or uniform in any consistent way. The most frequently
mentioned titles are assigned in only a small percentage of courses, and the low frequencies
for almost all the other titles English teachers assign point to an idiosyncratic literature
curriculum for most students. Moreover, the works teachers assign do not increase in
difficulty from grade 9 to grade 11.
Second, teachers of standard and honors courses do not regularly engage students in
close, analytical reading of assigned works. They do draw on a variety of approaches for
literary study, including close reading, but they are more likely to use a non-analytical
approach to interpret a work (e.g., a personal response or a focus on a work’s historical,
cultural, or biographical context) than to undertake a careful analysis of the work itself. It is
not clear why English teachers favor non-analytical approaches. Nevertheless, an under-use of
analytical reading to understand non-fiction and a stress on personal experience or historical
context to understand either an imaginative or a non-fiction text may be contributing to
the high remediation rates in post-secondary English and reading courses.
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Recommendations
The survey’s results motivate recommendations in three areas: K-12 curriculum and standards
policies; undergraduate and professional preparation programs for prospective English
teachers; and state assessments in the English language arts.
1. A challenging English language arts curriculum needs to be developed for students in
the middle third of academic performance in grades 7-12. We applaud the effort to make
more Advanced Placement English courses available in our high schools and to encourage
enrollment in them. The study’s findings, however, suggest that the needs of those who are
not in the top or bottom third of their grade-level peers are not being met.
2. States need to develop literature and reading standards at the high school level that
shape a progressively more challenging curriculum and include historically and culturally
significant texts, movements, and periods for English-speaking people.
3. English departments at public colleges and universities need to include the analytical study
of literature as a strong component of their curriculum, especially for students planning to
become secondary English teachers.
4. Boards of elementary, secondary, and higher education should require programs that
prepare English and reading teachers to emphasize how to do and teach analytical reading
of assigned texts.
5. The U.S. Department of Education and the states need to give priority to the funding
of professional development programs that emphasize the teaching of analytical reading
using historically and culturally significant texts.
6. The U.S. Department of Education should require common assessments in the English
language arts that use reading passages, writing prompts, and types of questions similar to
those in such exemplary models as British Columbia’s high school literature exit test and
the Massachusetts grade 10 tests.
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TABLE OF CONTENTS
Acknowledgment ............................................................................................... Executive Summary . .......................................................................................... Table of Contents . ............................................................................................. List of Tables ...................................................................................................... 2
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I. Background .................................................................................................... 7
A. The National Picture: A Decline in Reading
B. The International Picture
C. One Source of the Decline
D. Another Source of the Decline
II. Our Questions .............................................................................................. 11
A. The First Question
B. The Second Question
C. Earlier Studies on Content and Instruction in the Secondary English Class
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B. How do teachers approach literary study, and how much time do they allot to it?
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III. Survey Results .............................................................................................. A. What major titles do English teachers in standard and honors courses in
Grades 9, 10, and 11 assign, and how many per class?
IV. Discussion and Conclusions ......................................................................... A. Curricular Issues
B. Pedagogical Issues
V. Recommendations ......................................................................................... Endnotes ............................................................................................................ 33
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Appendix A: Methodology for the Survey .......................................................... A. Sample Selection
B. Data Collection
C. Use of ATOS for Books Readability Formula
D. Teachers in the Survey
Appendix B: Survey Instrument ......................................................................... Appendix C: Recruitment Materials ................................................................... Appendix D: Students, Schools, and Courses/Classes ......................................... Appendix E: Background of the Teachers in the Survey ...................................... Appendix F: Major Titles Assigned in All Courses .............................................. Appendix G: Major Poets, Short Story Writers, and Non-Fiction Writers . ......... Appendix H: General Informational or Technical Materials Mentioned ............. 37
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LIST OF TABLES
Table 1: Top 40 Titles, Readability Level, and Read Count for 1,500 Boys and Girls in
the Top 10% of Reading Achievement in Grades 9-12 in the 2009 Accelerated
Reader Database
Table 2: The 20 Most Frequently Assigned Titles, their Readability Level, Word Count,
and Grade Level Distribution, and Percentage of the Total Number of Courses
Table 3: The 15 Most Frequently Assigned Titles in Grade 9, their Readability Level,
and Word Count
and Word Count
and Word Count
Table 6: Percentage of Teachers in 2009 Teaching the Most Frequently Assigned Works
in 1989
Table 7: Mean Readability Level by Number of Titles Assigned by Grade
Table 8: Use of a Literature Anthology
Table 9: Percentage of Anthology Selections Assigned
Table 10: Anthologies Mentioned by Grade Level
Table 11: How Selection of Major Novels, Short Stories, and Poems Is Determined
Table 12: How Selection of Major Literary Non-Fiction Is Determined
Table 13: How Selection of Major Technical or Informational Texts Is Determined
Table 14: Approach to Teaching Imaginative Literature
Table 15: Approach to Teaching Literary Non-Fiction
Table 16: Typical Organization of Class Discussion
Table 17: Kinds of Writing Regularly Assigned In or Outside of Class
Table 18: Forms of Assessment Used
Table 19: Requirement of a Major Research Paper
Table 20: Percentage of Class Time Allotted for the Research Paper
Table 21: Percentage of Class Time Spent on Book-Length Fiction, Poetry, or Drama
Table 23: Approximate Number of Pages Per Week
Table 23: Percentage of Class Time Spent on Literary Non-Fiction
Table 24: Approximate Number of Periods/Blocks Spent on a Major Technical or
Informational Text
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I. BACKGROUND
A. The National Picture: A Decline in Reading
Three major indices of reading achievement provide evidence for a decline: an assessment
of adult literacy, the nation’s “Report Card” for grade 12, and a report on voluntary literary
reading among adults. According to the latest assessment of adult literacy in this country,
the reading skills of American adults have declined dramatically from 1992 to 2003.1
Moreover, the higher the educational level, the bigger the decline in their ability to read
ordinary prose, one of the three kinds of literacy assessed. High school graduates declined
six points on average, college graduates 11 points, and those with graduate study or graduate
degrees 13 points. The assessment wasn’t trying to measure how well Americans read Great
Expectations or Native Son, merely how well adults read basic instructions and do such tasks
as comparing viewpoints in two editorials.
Only 31 percent of those with graduate study or graduate degrees in 2003 were rated
“proficient” in reading prose (i.e., they were able to go beyond a literal understanding of
a complex book). In a similar assessment in 1992, 41 percent were rated “proficient,” the
highest of the four ratings. In 2003, only 31 percent of college graduates could be rated
“proficient,” compared to 40 percent in 1992.
The assessment did not determine whether these were recent college graduates or not.
Those in the age ranges of 18-24 and 24-39 showed on average a decline in two of the three
kinds of literacy assessed: prose and document reading. In contrast, those in the two oldest
age ranges, from age 50 up, showed increases at both the Intermediate and Proficient level
in all three kinds of literacy.
Results on the main test of grade 12 reading achievement by the National Assessment
of Educational Progress (NAEP) in 2005 also show a decline in reading skills since 1992,
when the main tests began. Although both boys and girls show a decline, there was over
one grade-level difference between them in favor of the girls.2 NAEP’s long-term trend tests
in reading have consistently shown the same gender gap since their inception over 30 years
ago, although only a slight increase in this gap.
Trend data are available for almost the identical period of time from one other source:
a 2004 report by the National Endowment for the Arts (NEA).3 The report found major
declines in voluntary literary reading for both men and women between 1992 and 2002,
although at different rates, considerably widening the gender gap in voluntary literary reading
by young adults. While a follow-up NEA survey in 2008 showed a gain in the reading of
novels, the reading of books continued to slide, as did the reading of drama and poetry.4
None of the experts who were interviewed by reporters or commentators in the media
could satisfactorily explain the trends in young adult voluntary literary reading or the
decline in high school reading skills. One reason may be a lack of information on the K-12
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reading curriculum—in the early grades when children are taught how to read and inspired
to read, and in the upper grades when one might expect extensive reading to be assigned
and advanced reading skills developed.
B. The International Picture
Although we have much less information from international assessments of reading
achievement than from national assessments, the information we do have indicates that our
lowest performing students have lower scores than do other countries’ lowest performing
students, and that the top ten percent of our students also have lower scores than the top
ten percent in many other countries. The information comes from a 2006 assessment of
reading in grade 4 by Progress in International Reading Literacy Study (PIRLS) and from
an assessment of reading in 2003 for 15-year-olds by the Program for International Student
Assessment (PISA).
PIRLS developed four international benchmarks to analyze the range of students’
performance in reading within each participating country. Students reaching the highest
benchmark could interpret figurative language, integrate ideas across a text to provide
interpretation of a character’s traits, intentions, and feelings, and provide full text-based
support for their interpretations. Only 12 percent of U.S. fourth graders reached this
benchmark, in contrast to about 19 percent in Singapore and the Russian Federation.
On the 2003 PISA assessment, the average reading literacy score for U.S. 15-year-olds
placed them in the middle third of the 30 participating nations. U.S. 15-year-olds in the
top ten percent scored below the top ten percent of students in seven other countries. The
bottom ten percent of U.S. 15-year-olds scored below the bottom ten percent of students
in 13 participating nations. For PISA 2003, only nine percent of U.S. 15-year-old students
performed at the highest level of proficiency, while Finland had 15 percent.5
C. One Source of the Decline
One source may be what many American secondary students are currently reading and the
difficulty level of what they read. According to a 2009 report by Renaissance Learning,
the company that produces Accelerated Reader (a computerized database to keep track of
what K-12 students read in participating schools across the country), the Harry Potter series
and other contemporary young adult fantasy series (by Stephenie Meyer in particular) are
among the most widely read books by secondary school students.6 As Table 1 shows, ten
of the top 16 most frequently read books by the 1,500 students in the top ten percent of
reading achievement in grades 9-12 in the database for the 2008-2009 academic year were
contemporary young adult fantasies. The database does not indicate whether the books
students read were assigned or self-selected (e.g., for book reports), but it is easy to identify
those likely assigned by English teachers—such titles as To Kill a Mockingbird, Night, Of
Mice and Men, and The Kite Runner. The “Read Count” column tells us how many students
read the book. These numbers reveal that high school students going on to college have had
few common reading experiences aside from contemporary young adult fantasies. Moreover,
almost all the books they read are relatively easy to read.
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Table 1: Top 40 Titles, Readability Level, and Read Count for 1,500 Boys and Girls in
the Top 10% of Reading Achievement in Grades 9-12 in the 2009 Accelerated Reader
Database
Grade
Read
Count Listing and Readability Level
1
9-12
332 Twilight, Stephenie Meyer (4.9)
2
9-12
325 Breaking Dawn, Stephenie Meyer (4.8)
3
9-12
253 New Moon, Stephenie Meyer (4.7)
4
9-12
228 Eclipse, Stephenie Meyer (4.5)
5
9-12
206 Brisingr, Christopher Paolini (7.8)
6
9-12
116 To Kill a Mockingbird, Harper Lee (5.6)
7
9-12
102 Night, Elie Wiesel (4.8)
8
9-12
99 Harry Potter and the Deathly Hallows, J.K. Rowling (6.9)
9
9-12
85 Of Mice and Men, John Steinbeck (4.5)
10
9-12
75 Eldest, Christopher Paolini (7)
11
9-12
75 The Great Gatsby, F. Scott Fitzgerald (7.3)
12
9-12
74 The Host, Stephenie Meyer (4.5)
13
9-12
74 Fahrenheit 451, Ray Bradbury (5.2)
14
9-12
68 Eragon, Christopher Paolini (5.6)
15
9-12
62 The Kite Runner, Khaled Hosseini (5.2)
16
9-12
62 Harry Potter and the Half-Blood Prince, J.K. Rowling (7.2)
17
9-12
61 Animal Farm, George Orwell (7.3)
18
9-12
59 1984, George Orwell (8.9)
19
9-12
58 The Crucible, Arthur Miller (4.9)
20
9-12
52 Lord of the Flies, William Golding (5)
21
9-12
52 Frankenstein, Mary Shelley (12.4)
22
9-12
49 The Catcher in the Rye, J.D. Salinger (4.7)
23
9-12
44 Harry Potter and the Goblet of Fire, J.K. Rowling (6.8)
24
9-12
43 Harry Potter and the Chamber of Secrets, J.K. Rowling (6.7)
25
9-12
42 The Giver, Lois Lowry (5.7)
26
9-12
42 Ender’s Game, Orson Scott Card (5.5)
27
9-12
41 Harry Potter and the Order of the Phoenix, J.K. Rowling (7.2)
28
9-12
41 A Separate Peace, John Knowles (6.9)
29
9-12
40 Pretties, Scott Westerfeld (5.7)
30
9-12
40 The Book Thief, Markus Zusak (5.1)
31
9-12
40 The Scarlet Letter (Unabridged), Nathaniel Hawthorne (11.7)
32
9-12
39 The Hobbit, J.R.R. Tolkien (6.6)
33
9-12
37 The Lightning Thief, Rick Riordan (4.7)
34
9-12
37 Harry Potter and the Sorcerer’s Stone, J.K. Rowling (5.5)
35
9-12
37 The Adventures of Huckleberry Finn (Unabridged), Mark Twain (6.6)
36
9-12
36 Pride and Prejudice (Unabridged), Jane Austen (12)
37
9-12
33 Angels and Demons, Dan Brown (5.6)
38
9-12
33 Romeo and Juliet, William Shakespeare (8.6)
39
9-12
33 Uglies, Scott Westerfeld (5.2)
40
9-12
32 The Sea of Monsters, Rick Riordan (4.6)
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This is the other striking feature of these top 40 titles—their difficulty level. Most titles are
at the middle school level. Few (e.g., The Scarlet Letter, Pride and Prejudice, and Frankenstein)
reach the high school level of difficulty with respect to sentence structure and vocabulary. There
are few non-fiction titles, and those mentioned are autobiographical in genre. The content of
what students choose to read raises concerns about the quality and rigor of the curriculum in
our public schools. It does not seem that the challenges and pleasures of reading mature works
are being cultivated by the school curriculum. Nor are advanced reading skills being developed.
D. Another Source of the Decline
American College Testing (ACT) points out another source of the decline. In a survey of
almost 36,000 middle school, high school, and post-secondary instructors of both regular
and remedial courses across the curriculum, ACT found students’ inability to read complex
texts the major deficiency.7 Concluding that students do not receive adequate instruction
in how to read more difficult and complex works in high school, ACT recommended
that students be given more instruction in using comprehension strategies to address this
deficiency. ACT also stressed that they be given “more opportunities to read challenging
materials … so that they are better positioned to comprehend complex texts in all subjects
once they enter college or the workplace.”
ACT did not suggest what these complex texts might be in grades 9-12, however, or
what principles could be used to develop a coherent English curriculum ensuring that high
school graduates would be exposed to a succession of more difficult and complex texts over
the course of these four grades. Moreover, ACT assumed that high school students need
more instruction in strategies or skills for reading complex texts—in addition to “more
opportunities to read challenging materials”—in order to be ready for entry-level college
coursework. Nevertheless, nothing in ACT’s survey led to the conclusion that simply more
instruction in reading comprehension strategies or skills was the solution to the deficiency
noted by college-level instructors. ACT could just as easily have conjectured that current
teaching methods were contributing to the deficiency and that different teaching methods
and different ideas about the content of an English curriculum might be more fruitful. a
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II. OUR QUESTIONS
While the Renaissance database indicates what many students are reading, it doesn’t tell
us what English teachers are assigning. Nor does it indicate how they approach literary
study. We describe in more detail the two broad sets of questions we asked in a survey of
a nationally representative sample of English teachers, and the way this study differs from
earlier studies on these questions.
A. The First Question
The first question was what book-length works of fiction, poetry, drama, and non-fiction
English teachers in public schools assign in grades 9, 10, and 11 in standard or honors
courses (not Advanced Placement or International Baccalaureate courses, or advanced,
elective, basic, or remedial courses). We also asked how many major works they assign per
course. We intended to determine whether the middle third of our high school students are
assigned progressively more difficult and more complex works from year to year in order to
develop their skills for college-level reading, literary and non-literary.
Our interest in the reading achievement of a “broad middle” should be viewed in the
context of major efforts by the U.S. Department of Education, state governments like
Arkansas, and private foundations such as the Gates Foundation8 to increase the number of
high school students who (1) go on to two- or four-year colleges, (2) are capable of doing
college-level work, and (3) graduate within a reasonable number of years. Our goal was to
explore whether there is an English curriculum in the sense of a planned course of study
that not only requires this broad middle to read progressively more challenging works from
grade 9 to grade 12 but also builds their understanding of literature, literary history, and
the English language.
B. The Second Question
The second question concerned the approach(es) teachers use for the literature they assign
and the time they allot to literary study. Did they teach close, analytical reading as well as
a reader response approach, as researcher Arthur Applebee reported in 1993?9 Did they
allow sufficient time for analytical reading of both imaginative literature and literary nonfiction? Or was time for literary study consumed by the need to address state standards
promoting odd reductions of sophisticated literary theories? What would an English teacher
be doing to get students “to recognize and analyze personal biases brought to a text?”10
When students must detect and factor into an interpretation of a literary work their own
personal prejudices, it is not clear what kind of understanding of the work, if any, would
emerge from this tortured mandate.
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C. Earlier Studies on Content and Instruction in the Secondary English Class
The last published report on the content of the secondary English curriculum appeared
in a 1993 volume issued by the National Council of Teachers of English (NCTE). Arthur
Applebee, author of the report, sought to find out what full-length works were assigned in
secondary English classes in a national sample of 322 public schools (grades 7-12) in 1989,
as well as in several other types of schools. His study replicated a 1964 study, which had
found that the most frequently assigned works then were long recognized works of literature
spanning many centuries of British and American literature.11 One of Applebee’s purposes
was to determine the extent to which assigned works in 1989 were drawn from a “white,
male, Anglo-Saxon tradition” and omitted works by women and members of minority
groups. Did the assigned works have a claim to literary merit? Did they adequately reflect
the diversity of American culture? Did they give students a sense of a common cultural
heritage? He found many changes in the curriculum during the latter half of the twentieth
century, “particularly among the short story, poetry, and nonfiction selections.” But he did
not find the changes “sufficient to reflect the multicultural heritage of the United States.”
His report did not suggest how sufficiency can be judged. Nor did it supply an example of
a curriculum that would, in fact, reflect this country’s “multicultural heritage.”
The first comprehensive report on the pedagogy for literary study in high school
English in this country appeared in 1968.12 James Squire and Roger Applebee’s fiveyear study examined “outstanding” high school English programs through classroom
observations, individual interviews, group meetings with teachers and students, and the
use of checklists and questionnaires. Altogether, 158 schools, 1,331 teachers, and 13,291
students participated in the study. Among their many observations, Squire and Applebee
found a strong emphasis on the close reading of texts in the literature classroom. They also
found 52 percent of instructional time dedicated to the study of literature.
Arthur Applebee also reported in 1993 on the pedagogy for literary study and the time
allotted for it in a national sample of about 170 public schools. In a summary of his findings,
he noted: “teachers reported a dual emphasis on techniques loosely related to reader-response
theories, and on those associated more directly with New Critical close analyses of text.”
Teachers “did not see these emphases as being in conflict with one another.” Table 7.4 in his
report shows that, in the 116 public schools from which he obtained data for the national
survey, 67 percent of the teachers highly rated a reader response approach stressing student
interpretations, while 50 percent highly rated an approach stressing a close reading of the
text. He comments further:
The eclectic melding of reader- and text-centered traditions that was
apparent in teachers’ goals and approaches raises a variety of questions
about the consistency and coherence of the approaches teachers are
adopting. …there are fundamental differences in criteria for adequacy
of response and interpretation, in the role of historical and inter-textual
knowledge, and in what is considered of primary and of secondary
importance in discourse about literature. (P. 137)
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Applebee concluded that a “re-examination of literature curriculum and instruction
is necessary to provide teachers with a unifying framework that will better inform their
decisions about what and how they teach.” But what he means by a “unifying framework”
is not clear, nor has he yet presented one to the field, to our knowledge.13
In 2008-2009, two of my colleagues at the University of Arkansas and I surveyed a
representative sample of over 400 English teachers of standard and honors courses in grades
9, 10, and 11 in Arkansas public schools with a questionnaire similar to the one used in
the study reported here. We followed up the Arkansas survey, which was conducted by
the Survey Center at the University of New Hampshire, with eight focus group meetings
for English teachers in the state’s four Congressional districts. The results of the Arkansas
survey are almost identical to the results of the present study. The final report is posted at
http://coehp.uark.edu/literary_study.pdf. a
III. SURVEY RESULTS
A. What major titles do English teachers in standard and honors courses in grades 9,
10, and 11 assign, and how many per class?
1. Major Titles Assigned
Table 2 shows the 20 most frequently assigned major works of fiction, drama, and booklength poems, their readability level, word count, distribution across grades 9-11, and
percentage of the total number of courses. (For the complete list of major titles mentioned,
see Appendix F.) While these titles reflect many centuries, from ancient Greece to Renaissance
England to contemporary America, only four have a high school readability level, i.e., are
sufficiently challenging with respect to vocabulary and sentence structure for a student with
high school-level reading skills: Julius Caesar, The Odyssey, The Scarlet Letter, and Macbeth.
Certainly, many more of these titles are thematically complex works of contemporary
fiction or drama (e.g., Night, Fahrenheit 451, The Great Gatsby, A Raisin in the Sun) and
are also appropriate in a high school curriculum. But contemporary plays tend to have low
readability levels because they consist of informal dialogue and do not tend to use complex
sentence structure or difficult vocabulary.
As can also be seen, the percentages are all under 25 percent. In fact, only three titles
are mentioned enough times to show up in at least 20 percent of the courses. And most of
the 20 most frequently assigned titles appear in fewer than ten percent of the 773 courses
described in the survey.
Tables 3, 4, and 5 show the 15 most frequently assigned titles at each grade level.
Many of the other titles mentioned at each grade level are also recognized literary works.
Because of the small percentages for almost all of the titles listed overall and by grade level,
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one may reasonably infer that most American students experience an idiosyncratic set of
readings before they graduate from high school.
According to Table 2, 72 percent of students in standard and honors courses read Romeo
and Juliet, 68 percent read To Kill a Mockingbird, 59 percent read The Crucible, and 48 percent
read Julius Caesar before they graduate from high school. But one cannot discern from these lists
what other titles these students read at any grade level since percentages for most of the other
works mentioned are well under 30 percent. The low frequencies suggest how little is left of a
coherent and progressive literature curriculum with respect to two of its major functions—to
acquaint students with the literary and civic heritage of English-speaking people, and to develop
an understanding and use of the language needed for college coursework.14
Table 2: The 20 Most Frequently Assigned Titles, their Readability Level, Word Count,
and Grade Level Distribution, and Percentage of the Total Number of Courses*
Title
Romeo and Juliet
To Kill a Mockingbird
The Crucible
Readability
Level**
8.6
Word
Count
25,599
5.6
99,121
80
(33.8%)
36
4
11
33
25
(1.7%) 24 (9.1%) 131
(4.6%) 109 (41.1%)
7
(13.9%) 28 (10.6%) 34
(10.5%) 45 (17.0%) 14
Grade 9
(N=237)
160 (67.5%)
4.9
35,560
Julius Caesar
Of Mice and Men
Night
10.8
27,309
4.5
4.8
29,572
28,404
The Great Gatsby
7.3
47,094
2
(0.8%)
Lord of the Flies
Huckleberry Finn
The Scarlet Letter
Animal Farm
The Odyssey
A Raisin in the Sun
Macbeth
Antigone
The Catcher in the
Rye
A Separate Peace
Fahrenheit 451
The Pearl
Speak
5.0
59,900
(8.4%)
6.7
11.7
109,571
63,604
7.3
10.3
29,060
120,133
(13.5%)
(20.3%)
5.5
10.9
5.3
31,391
19,048
11,061
20
5
1
32
48
11
1
1
4.7
73,404
6.9
5.2
7.1
4.5
56,787
45,910
25,845
46,591
Grade 10
(N=265)
9 (3.4%)
56 (21.1%)
4
Total
173
As %
of # of
Courses
(773)
22.38
(13.3%)
172
22.25
(48.3%)
(2.6%)
159
127
20.57
16.43
(12.5%)
(5.2%)
95
84
12.29
10.87
Grade 11
(N=271)
4
(1.5%)
(1.5%)
77
(28.4%)
83
10.74
12
(4.4%)
72
9.31
44
47
(16.2%)
(17.3%)
69
61
8.93
7.89
10
3
(3.7%)
(1.1%)
59
56
7.63
7.24
(4.6%)
(0.4%)
(0.4%)
40 (15.1%)
20 (7.5%)
13 (4.9%)
17 (6.4%)
5 (1.9%)
12 (4.5%)
17 (6.4%)
39 (14.7%)
32
26
4
(11.8%)
(9.6%)
(1.5%)
55
44
44
7.12
5.69
5.69
5
(2.1%)
12
(4.5%)
20
(7.4%)
37
4.79
11
11
14
15
(4.6%)
(4.6%)
(5.9%)
(6.3%)
22
15
10
6
(8.3%)
(5.7%)
(3.8%)
(2.3%)
2
7
3
5
(0.7%)
(2.6%)
(1.1%)
(1.8%)
35
33
27
26
4.53
4.27
3.49
3.36
(2.1%)
(0.4%)
* The number in the grade level columns indicates the number of times the title was mentioned at that
grade level.
** The number in the Readability Level column indicates the grade at which the text can be read by the
average student in that grade with respect to the difficulty of its vocabulary and syntax. For example, a
Readability Level of 8.6 indicates a level of reading difficulty corresponding to grade 8 and six-tenths of
the school year, i.e., the text is comprehensible (with respect to its vocabulary and syntax) by the average
student in the latter half of grade 8.
a
a
15
Table 3: The 15 Most Frequently Assigned Titles in Grade 9, Readability Level,
and Word Count
Title
Romeo and Juliet, by William Shakespeare
To Kill a Mockingbird, by Harper Lee
The Odyssey, by Homer
Of Mice and Men, by John Steinbeck
Animal Farm, by George Orwell
Night, by Elie Wiesel
Lord of the Flies, by William Golding
The Outsiders, by S.E. Hinton
Great Expectations, by Charles Dickens
Speak, by Laurie Halse Anderson
The Pearl, by John Steinbeck
Julius Caesar, by William Shakespeare
A Separate Peace, by John Knowles
Fahrenheit 451, by Ray Bradbury
A Raisin in the Sun, by Lorraine Hansberry
Readability
Level
8.6
5.6
10.3
4.5
7.3
4.8
5.0
4.7
9.2
4.5
7.1
10.8
6.9
5.2
5.5
Word Count
25,599
99,121
120,133
29,572
29,060
28,404
59,900
48,523
183,349
46,591
25,845
27,309
56,787
45,910
31,391
Frequency
160
80
48
33
32
25
20
19
16
15
14
11
11
11
11
and Word Count
Readability
Level
10.8
5.6
Word Count
27,309
99,121
Frequency
109
56
4.8
5.0
5.3
28,404
59,900
11,061
45
40
39
4.5
29,572
28
The Crucible, by Arthur Miller
The Adventures of Huckleberry Finn, by Mark Twain
Macbeth, by William Shakespeare
Things Fall Apart, by Chinua Achebe
Twelve Angry Men, by Reginald Rose
The Scarlet Letter, by Nathaniel Hawthorne
4.9
6.9
35,560
56,787
24
22
6.7
7.3
10.9
6.2
5.2
Unknown
11.7
109,571
29,060
19,048
50,380
45,910
Unknown
63,604
20
17
17
16
15
13
13
Title
Antigone, by Sophocles
a
a
16
and Word Count
Title
The Great Gatsby, by F. Scott Fitzgerald
Death of a Salesman, by Arthur Miller
The Catcher in the Rye, by J.D. Salinger
Hamlet, by William Shakespeare
The Grapes of Wrath, by John Steinbeck
Their Eyes Were Watching God, by Zora Neale Hurston
Readability
Level
Word Count
4.9
35,560
7.3
47,094
Frequency
131
77
11.7
6.7
63,604
109,571
47
44
5.6
4.5
99,121
29,572
36
34
5.5
10.9
31,391
19,048
32
26
6.2
4.7
10.5
4.9
5.6
4.8
5.0
28,962
73,404
32,044
169,481
63,783
28,404
59,900
23
20
17
17
16
14
12
That significant change has taken place in the past 20 years can be seen in Table 6 by
looking at the percentage of the 406 teachers in this survey teaching the ten titles most
frequently assigned in a majority of the public schools that Arthur Applebee surveyed in
the late 1980s. For purposes of comparison, it is important to note that his study included
all the different types of English classes in grades 9-12 (e.g., AP, IB, advanced, elective,
and basic courses), not just standard and honors classes in grades 9-11 as in the ALSCW
survey. Moreover, his unit of analysis was the school, not individual courses. Thus, his
study picked up the maximum assignment of these titles and on a school-wide basis, not
a profile of what the average student likely reads. Nevertheless, it seems unlikely that the
large differences in percentages from 1989 to 2009 can be explained just by the differences
in the unit of analysis and in the types of classes included in the surveys. In other words, it
is reasonable to conclude that significant changes have taken place.
There is no evidence to suggest that these changes have led to improved reading and
writing by the average high school graduate. Indeed, the remediation rate for traditional
college freshmen (from one-quarter to one-third of those admitted must take non-creditbearing coursework in English or reading), particularly at community colleges and less
selective four-year institutions of higher education, suggests that changes in the content
of the English curriculum have perhaps lowered academic achievement, given the results
of ACT surveys in recent years on the percentage of American students who are capable
of doing college-level work. The vast middle of our high school population may no longer
receive the kind of English education that most Americans expect a high school to provide.
It should be noted, too, that lists of the most frequently assigned titles can be misleading.
One should not assume that most students in fact read these texts. Unless the percentage of
courses assigning a title is 30-33% at each grade level from 9-11, lists of the most frequently
a
a
17
assigned titles do not warrant claims about which titles (if any) all or most students end up
reading by grade 12. For example, The Odyssey is the twelfth most frequently assigned title
overall (see Table 2), but only 20 percent of students read it in grade 9, where it tends to be
assigned (the percentage in grades 10 and 11 is miniscule). The Adventures of Huckleberry
Finn is the ninth most frequently assigned title overall, but in grade 11, where it tends to be
assigned, only 16 percent of the courses include it. About ten percent more courses assign
it in grades 9 and 10. It is clear that a majority of the students who have read one of these
works have not read the other.
Table 6: Percentage of Teachers in 2009 Teaching the Most Frequently Assigned
Works in 1989
Percent of Public Schools
Assigning Title
in 9-12 in 1989 (N = 322)*
84
81
70
70
69
62
56
55
54
54
Title
Romeo and Juliet
Macbeth
Huckleberry Finn
Julius Caesar
To Kill a Mockingbird
The Scarlet Letter
Of Mice and Men
Hamlet
The Great Gatsby
Lord of the Flies
Percent of Public School
Teachers Assigning Title in
9-11 in 2009 (N = 406)**
30
8
13
22
30
11
18
5
15
13
* Excerpted from Table 5.4: Most Popular Titles of Book-Length Works, Grades 9-12, Arthur Applebee, Literature in the Secondary School, NCTE Research Report No. 25, 1993.
** These teachers were teaching standard or honors courses only.
2. Reading Difficulty Level
Although Tables 2, 3, 4, and 5 do not allow us to determine whether students read
progressively more complex and difficult works from grades 9 to 11, we can say something
about the difficulty level of what students read from grade to grade. We need to look first
at the total number of major works of fiction, drama, or book-length poems assigned per
grade. As Table 7 shows in the first column, the typical number of major titles of novels,
plays, and book-length poems assigned was 2, 3, or 4 in 2008-2009. (In grade 9, 138 of
226 class descriptions included 2, 3, or 4 titles; in grade 10, 156 of 241 did; in grade 11,
149 of 245 did.)
a
a
18
Table 7: Mean Readability Level by Number of Titles Assigned by Grade
Number of Titles
Assigned
1
2
3
4
5
6
7 or more works
Total
Grade
9th grade
10th grade
11th grade
Total
9th grade
10th grade
11th grade
Total
9th grade
10th grade
11th grade
Total
9th grade
10th grade
11th grade
Total
9th grade
10th grade
11th grade
Total
9th grade
10th grade
11th grade
Total
9th grade
10th grade
11th grade
Total
9th grade
10th grade
11th grade
N
14
13
16
43
42
50
50
142
54
51
52
157
42
55
47
144
31
23
26
80
25
19
20
64
18
30
34
82
226
241
245
Mean
Readability
7.4143
9.7231
5.5625
7.4233
6.9917
7.0560
6.0190
6.6718
6.4741
7.0412
6.0718
6.5251
6.8179
6.3645
5.8557
6.3307
6.9001
6.3876
6.0249
6.4683
6.4315
6.2646
6.1984
6.3091
6.6002
6.7753
6.3383
6.5556
6.7562
6.8778
6.0286
Minimum
Readability
4.5
4.7
3.5
3.5
3.8
3.1
3.5
3.1
3.8
3.5
4.3
3.5
4.7
4.7
4.8
4.7
5.0
4.5
5.0
4.5
5.1
3.6
5.1
3.6
5.6
4.7
4.6
4.6
3.8
3.1
3.5
Maximum
Readability
10.3
10.8
8.5
10.8
10.3
11.1
10.6
11.1
9.5
10.8
11.5
11.5
8.4
10.8
8.2
10.8
9.3
7.4
7.8
9.3
8.6
8.0
8.1
8.6
8.0
8.4
8.5
8.5
10.3
11.1
11.5
We then need to look in Table 7 at the mean readability level by number of assigned
titles by grade for all classes. We find little difference in the mean readability level either
at any one grade as the number of assigned titles increases, or from grade to grade when
the same number of titles is assigned. Most mean readability levels are between 5th and
6th grade. These means suggest that students in standard or honors classes are as classes
not reading a more challenging group of major titles from grade to grade. These means
also suggest that most teachers of standard or honors classes in grades 9, 10, and 11 tend
to balance easy and hard books in each class at all grades, no matter how many titles they
assign. When they assign many titles, one may surmise it is because they need to assign
easier titles to address the range of reading levels of their students.
a
a
19
3. Use of Anthologies
Do teachers have an anthology and to what extent do they use it? As Table 8 shows, between
70 and 75 percent use an anthology, with little difference in use from grade to grade. But, as
Table 9 shows, three-fourths of the teachers say they teach fewer than half of the selections in
their anthology, suggesting another possible source for incoherent English curricula in this
country. Table 10 shows the anthologies used, almost all of which are by major publishers
of anthologies in this country.
Table 8: Use of a Literature Anthology
Grade Level
Grade 9
Grade 10
Grade 11
Yes
75
72
70
No
25
28
30
Number of Classes
234
264
271
Table 9: Percentage of Anthology Selections Assigned
Grade Level
Grade 9
Grade 10
Grade 11
1-10% 11-20 % 21-30 % 31-40 % 41-50 % 51-70 % 71-100 %
8
10
18
20
18
14
12
11
12
18
17
18
10
14
9
12
19
16
21
14
10
Number of
Classes
173
185
191
Table 10: Anthologies Mentioned by Grade Level
Publisher
Holt
Glencoe
Prentice Hall
McDougal Littell
Other
9th grade*
58
14
39
39
19
10th grade**
59
17
49
45
16
11th grade***
65
20
43
34
25
Total
182
51
131
118
60
Note: Some teachers explicitly said they did not use an anthology. Most did not give editions or dates,
nor were they consistent in how they identified their anthology.
* Other includes: St. Martin’s (1), Pearson (1), Foresman (2), Edge Curriculum (2) and unidentifiable (13).
** Other includes: St. Martin’s (1), EMC (1), Foresman (1), The Great Secret and Other Stories (1),
Reading and Writing Literature (1), Literature for Life and Work (1), Encounters (1), Unidentifiable (9).
*** Other includes: St. Martin’s (1), Harcourt (5), Foresman (1), Ginn Literary Service (2), Longman.
(2), Houghton Mifflin (2), College Board (1), Rouse’s (1), Readers for Writers (1), Literature for the
Holocaust (1), and Unidentifiable (8).
4. Major Poets, Short Story Writers, and Non-Fiction Authors Assigned
The major poets, short story writers, and non-fiction authors that teachers assign, overall and
by grade level, are listed in tables in Appendix G. These tables confirm what these teachers
indicated about the use of anthologies. Almost all of the poets and short story writers
mentioned are in the anthologies (and have been in various editions of these anthologies for
decades). The most frequently assigned short story writer is Edgar Allan Poe. The six most
frequently assigned poets are Robert Frost, Emily Dickinson, Edgar Allan Poe, Langston
Hughes, Walt Whitman, and William Shakespeare, in that order.
a
a
20
Fewer works of literary non-fiction were mentioned. Those that were mentioned more
than 15 times are mainly autobiographies (those by Frederick Douglass and Benjamin
Franklin and Elie Wiesel’s Night) as were many of the less frequently mentioned titles.
For 341 classes, teachers mentioned no specific non-fiction title or author. These results
are consistent with the results of a survey by The Concord Review on the extent to which
high school students are assigned to write term papers based on the reading of historical
15
non-fiction. In their open responses, many teachers nationally and in the Arkansas survey
mentioned letting students choose a biography or autobiography for a book review or
research paper, so it remains a popular genre. They also noted that much if not most of
the non-fiction their students read comes from the anthologies they use; publishers have
included selections or excerpts reflecting a variety of genres of literary non-fiction for many
years in their anthologies, especially biographical sketches of the authors featured, as well as
speeches and essays by recognized writers. The non-anthologized non-fiction that teachers
assign tends to come from newspapers or magazines—again, short selections or excerpts.
Historically important speeches are taught to some extent (and usually in grade 11)
if a specific speech was mentioned at all. Martin Luther King, Jr. is the most frequently
mentioned speech or essay writer by far, in about one-third of all classes. Abraham Lincoln
is the next most frequently assigned writer but runs a very distant second. All of the most
frequently assigned authors of essays or speeches are in the major high school anthologies.
5. Title Selection
How are titles and authors selected? What guides the choice of assignments for a grade or
class? Check-off choices included teacher preference, department decision, school or district
curriculum, and student choice. Multiple choices were possible. As Table 11 indicates,
70-80 percent of the teachers across grade levels select the major novels, plays, and booklength poems they assign; 30-40 percent are influenced by their department or the school
curriculum; and about 14 percent are influenced by student choice.
Table 11: How Selection of Major Novels, Short Stories, and Poems Is Determined
Grade
Grade 9
Grade 10
Grade 11
Teacher
71%
82%
80%
Department
42%
35%
34%
Curriculum
35%
31%
30%
Students
15%
13%
14%
Other
6%
5%
3%
Number of
Classes
235
260
266
For the most part, teachers also select the literary non-fiction and technical information
they assign, as indicated in Table 12 and Table 13. Like the teachers in the Arkansas survey,
English teachers across the country allow students who appear unmotivated or have poor
reading skills to choose their reading, claiming they find these students more motivated to
read when they can select their own books.
a
a
21
Table 12: How Selection of Major Literary Non-Fiction Is Determined
Grade
Grade 9
Grade 10
Grade 11
Teacher
75%
80%
84%
Department
34%
22%
24%
Curriculum
29%
22%
23%
Students
15%
8%
5%
Other
4%
3%
1%
Number of
Classes
184
230
249
Table 13: How Selection of Major Technical or Informational Texts Is Determined
Grade
Grade 9
Grade 10
Grade 11
Teacher
65%
67%
71%
Department
31%
28%
25%
Curriculum
27%
20%
18%
Students
9%
2%
8%
Other
3%
6%
9%
Number of
Classes
77
83
93
6. Summary
The remnants of a once coherent high school literature and reading curriculum can be
discerned in the profile of the most frequently assigned titles in grades 9 to 11 across the
country. But the actual number of classes in which these titles are assigned is, with only a
few exceptions, very small. English teachers do seem to assign for the vast middle of our high
school population a large variety of other works, many of which are also mature literary or
non-literary works as can be seen in Appendix F. But it is not clear how easily a coherent
curriculum can be worked out on the basis of an idiosyncratic set of texts in each English
class at each grade level, chosen by the teacher or, in some cases, by students, or by both.
As for reading difficulty level, an analysis of the survey data suggests that students in
standard or honors classes are, overall (that is, as a class), not reading a more challenging
group of major titles from grade 9 to grade 11. In large part, this stasis may be due to the
increasing range in reading skills in these classes at the lower end. What students enrolled
in the increasing number of AP English classes now offered in most high schools actually
read can be determined only by examining syllabi approved for these classes by the College
Board. Although AP English teachers must adhere to broad criteria, the College Board no
longer requires them to use specific titles.
A large majority of teachers use a literature anthology, but they teach fewer than half of
the selections in them. These anthologies seem to be the source of the major poetry, short
stories, and literary non-fiction they assign. Despite some departmental and curricular
constraints, English teachers have a great deal of autonomy in what they choose to assign
as major titles, poems, short stories, literary non-fiction, and technical or informational
texts.
B. How do teachers approach literary study, and how much time do they allot to it?
These two questions are of paramount interest because of contextual factors influencing how
much time English teachers might devote to literary study today and because of inherent
contradictions between the pedagogical theories that have influenced the preparation and
professional development of English teachers for several decades. Survey responses provided
a
a
22
ample information on how teachers of standard and honors classes approach the study of
imaginative literature and literary non-fiction, how much time they devote to such study,
how they organize class discussions, and what kinds of assessments and writing projects
they assign.
1. Approaches to Literary Study
Respondents were asked to listen to a short description of several approaches to teaching
imaginative literature and literary non-fiction and to indicate which “might best describe
your approach” (Tables 14 and 15). The categorical labels we provided roughly reflect the
dominant critical approaches employed or developed since the study of literature became a
mandated part of the secondary curriculum in the 1880s.16 From that point until roughly
the 1940s, a literary work was placed within a biographical/historical context and seen
chiefly as an embodiment of contemporary views of literary excellence and significant ideas,
with its meaning a matter of personal impression. However, according to I. A. Richards,
one of the foremost and earliest critics of this approach, the traditional method of teaching
“around” a work—i.e., dwelling on the author’s life, milieu of the times, political influences
rather than on the work itself—left students unable to understand literature, particularly
poetry, and to analyze it well.17
Beginning in the 1930s but developing dominance in the 1940s and remaining strong
for three decades thereafter, an approach called “New Criticism” held sway in the teaching
of literature.18 This approach stressed analysis of the relation between a work’s form and
meaning—of its intrinsic qualities rather than its “biographical or historical contexts.”19
Subsequently, in the 1960s and 1970s, reader response approaches gained dominance,
stimulated in large part by Louise Rosenblatt’s Literature as Exploration, first published in
1938.20 Although a reader response approach was taken further than Rosenblatt herself
intended or approved, it did launch the doctrine that the reader “creates the text” or “coauthors the literary work,” encouraging K-12 teachers to ground the interpretation of a
literary work in students’ personal experiences or idiosyncratic responses to it.21
In the last third of the twentieth century, approaches came into play that again sought
the meaning of a literary work through its historical and cultural context, emphasizing the
author’s race, ethnicity, gender, and biography, or the experiences of the group with which
an author was identified (as in a multicultural approach). Among late-twentieth-century
literary approaches, a common thread was a general belief that the meaning of a literary
work is undecidable—that its interpretation remains open to a variety of possibilities.22 It
is important to note that however simplistic and reductive the following labels may seem to
literary scholars, leading secondary English educators and researchers themselves frequently
use labels like “text-centered” or “reader-centered” to categorize approaches to literary study,
as Arthur Applebee did.
Teachers’ responses to the question about their approach to imaginative literature and
literary non-fiction clearly reveal the mismatch or incoherence in instructional approaches
pointed out by Arthur Applebee in 1993 and implied by the comments in the past decade by
a
a
23
literary scholars who have taught or supervised prospective and practicing English teachers.
In Applebee’s study, 67 percent of respondents rated very highly (on a scale from 1 to 5)
the influence of “reader-centered” theories on their teaching, while 50 percent rated very
highly the influence of “text-centered” theories on their teaching. On the other hand, only
about 30 percent of the teachers in this study checked off close reading—the careful reading
of the text itself; the percentage is even smaller if one includes their preferred approach to
teaching literary non-fiction.
As Table 14 shows, reader response, biographical, cultural, historical, or identity-based
multiculturalist approaches dominate high school teachers’ pedagogy for literary study. All
major approaches, including close reading, are represented across classrooms, but close
reading was checked off far fewer times than reader response at all three grade levels, and the
percentage of classes in which a multiculturalist approach is used is close to the percentage
of classes in which close reading is used. Indeed, much of the decrease from grade 9 to grade
11 in the percentage of classes using a reader response approach seems to be compensated
for by an increase in the percentage of classes stressing biographical or historical context. If
teachers do favor non-analytical approaches to literary study, it is possible that today’s high
school students do not engage in close, careful reading of assigned texts for most of their
classroom study.
Striking confirmation of the dominance of non-analytical approaches to the reading
of assigned literary texts appears in Table 15. The percentage of classes using close reading
for literary non-fiction is almost as low as the percentage using it for imaginative literature.
While the percentage using a reader response approach is, appropriately, much lower for
literary non-fiction than for imaginative literature at all grade levels, and the percentage
diminishes from grade 9 to grade 11, nevertheless, close reading is slighted at each grade
level in favor of a contextual approach if not a personal response. Yet engaging students in
a careful reading of a non-fiction text does not preclude asking them to locate historical,
cultural, or biographical information that could help them to understand it better.
Why are teachers under-using close reading for non-fiction and stressing a personal
response to imaginative literature or, in the short amount of time they have for teaching
any aspect of the English language arts at the high school level, turning attention away from
what is in the text and toward materials on its historical, cultural, or biographical context?
There are several not mutually exclusive explanations: (1) English teachers have had little
pre-service or in-service instruction in how to read and teach non-fiction analytically;23
(2) English teachers have been discouraged in pre-service or in-service instruction from
teaching imaginative literature or literary non-fiction analytically; (3) English teachers have
unwittingly extended the use of a reader response approach from imaginative literature to
literary non-fiction; (4) English teachers have not experienced a model of close reading of
literature in their own undergraduate courses; and (5) English teachers do not have enough
time in an era of state standards, assessments, and accountability to teach students how to
read a text carefully. Because of what or how they have been taught in academic coursework
in the humanities and in their preparation or professional development programs, English
a
a
24
teachers are mis-teaching students how to read non-fiction and how to understand an
imaginative literary work.
Table 14: Approach to Teaching Imaginative Literature
Grade
Grade 9
Grade 10
Grade 11
Close Reading or
New Criticism
29%
31%
31%
Biographical
or Historical
19%
26%
27%
Reader
Response
60%
52%
45%
Multi- Something Number of
cultural
Else
Classes
29%
4%
228
27%
3%
260
27%
4%
264
Table 15: Approach to Teaching Literary Non-Fiction
Grade
Grade 9
Grade 10
Grade 11
Close Reading or
New Criticism
22%
22%
31%
Biographical
or Historical
37%
34%
36%
Reader Multicul- Something Number of
Response
tural
Else
Classes
44%
28%
3%
185
45%
20%
4%
226
39%
21%
3%
239
2. Classroom Organization and Writing Activities
As Table 16 shows, almost all teachers at all grade levels organize discussion on a whole-class
basis. About two-thirds use teacher-prepared questions (often provided by their literature
anthologies or supplementary curriculum resources). However, this does not necessarily
mean that discussion has been preceded by a teacher lecture or is part of a lecture/discussion
format (a frequent interpretation of this strategy). In the Arkansas survey, teachers reported
devoting a significant amount of time to reading literary texts aloud before class discussion.
It is therefore possible that reading aloud was included under the rubric of whole-class
discussion.
Reading aloud to high school students in English classes is apparently a growing
phenomenon. A survey of high school teachers reported in a 2010 Education Week article,
“Reading Aloud to Teens Gains Favor among Teachers,” found that 344 of the 476
respondents read aloud to their students. Respondents gave four positive reasons for reading
aloud to their students: to cultivate a love of reading, to build attention to and interest in
a topic, to model correct and fluent oral reading, and to expose students to texts otherwise
unread. But it is not clear how much instructional time teachers’ oral reading consumes and
to what extent the practice is growing as a way to enable students who do not read outside
of class (or cannot read well) to participate in class discussion, as teachers in the Arkansas
survey indicated. Nor is it clear if this strategy discourages those students in the class who
would otherwise come to class prepared.
As Table 16 also shows, about two-thirds of classes at all three grade levels in the
ALSCW survey use small groups for discussion and about half of them use student-generated
questions. We have no way of knowing how often small student-led discussion groups are
used in English classes today, but these groups are a mandated pedagogical strategy for
organizing literary discussion in many low-performing schools as part of a contract with
America’s Choice, a nationally prominent “turnaround” partner. Needless to say, little
a
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25
analytical reading can take place in student-led literature discussion groups. Moreover, in
well over two-thirds of all classes in the ALSCW survey (Table 17), students do journal
writing, often during class time, further reducing the amount of time available for close
reading.
Table 16: Typical Organization of Class Discussion
Grade
Grade 9
Grade 10
Grade 11
Whole Class
Discussion
91%
90%
86%
Small
Discussion
Groups
68%
66%
64%
Prepared
Teacher
Student
Questions Questions
67%
54%
64%
51%
65%
54%
Other
12%
7%
14%
Number of
Classes
232
259
268
Table 17: Kinds of Writing Regularly Assigned In or Outside of Class
Grade
Grade 9
Grade 10
Grade 11
Journals
78%
74%
79%
Essays
94%
95%
96%
Quizzes
74%
75%
73%
Other
23%
18%
22%
Number of
Classes
232
262
266
A comparison of the percentages in these two tables from the national survey with their
counterparts from the Arkansas survey supports the general validity of these results.24
Many percentages are about the same (e.g., for small group work, essays, and quizzes).
However, there are smaller percentages in the ALSCW survey for whole class work, and
much smaller percentages for teachers’ (or an anthology’s) questions for whole class or small
group discussion. Correspondingly, there are also higher percentages of journal writing.
These differences provide further confirmation that in standard and honors classes today,
students do not engage in much close reading, no matter what they read.
3. Forms of Assessment and Research Papers
As the responses in Table 18 show, English teachers use various forms of assessment, such
as book reports, book reviews, oral reports, Power Points, and exams of various kinds, and
they use them extensively at each grade level—with little variation from grade to grade. The
only inconsistency in their response is in reference to the research paper (Table 19). In grade
11, three-fourths of the teachers assign a term paper (almost the identical percentage in the
Arkansas survey), although their responses show no difference across grades. However, the
number of class hours they allot to a major research paper (Table 20) increases from grade
to grade: 39 percent in grade 9, 56 percent in grade 10, and 57 percent in grade 11 allot
from 8 to more than 14 class hours to work on a research paper.
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26
Table 18: Forms of Assessment Used
Grade
Grade 9
Grade 10
Grade 11
Book
Reports
39%
40%
39%
Book
Reviews
34%
43%
39%
Oral
Reports
55%
49%
51%
Research
Paper
58%
58%
57%
Power
Point
58%
58%
51%
Exams
85%
84%
75%
Other
43%
35%
33%
Number of
Classes
231
257
267
Table 19: Requirement of a Major Research Paper
Grade
Grade 9
Grade 10
Grade 11
Yes
58%
58%
75%
No
42%
42%
25%
Number of Classes
235
261
271
Table 20: Percentage of Class Time Allotted for the Research Paper
None
Less than
1 hour
1 to 4
hours
5 to 7
hours
8 to 10
hours
11 to 13
hours
14 or more
hours
Number of
Classes
Grade 9
4%
9%
21%
20%
15%
6%
25%
128
Grade 10
2%
8%
21%
13%
17%
11%
28%
148
Grade 11
3%
9%
24%
8%
15%
6%
36%
194
Grade
4. Time Allotted to Literary Study
We explored the amount of time that teachers allotted to literary study from grade to grade
and compared their estimates to the 1968 Squire and Applebee estimate. Table 21 shows
teachers’ estimates of class time allotted to the study of a book-length work of imaginative
literature. Those spending 20 percent or less of their time on a book-length work increases
from grade to grade—from 56 percent of grade 9 classes, to 60 percent of grade 10 classes,
and to 64 percent of grade 11 classes. Correspondingly, those spending ten percent or less
of their time on a book-length work rises from 26 percent in grade 9 and 32 percent in
grade 10 to 41 percent in grade 11.
These figures suggest a dramatic reduction in overall time allotted to literary study in
comparison with the 52 percent of time in the 1968 Squire and Applebee study. How much
of a reduction, though, is unclear. Our survey question did not ask teachers to include
time spent on short stories and poetry as well (which may have been included in the 1968
estimate). Although it is possible, it seems unlikely that the time they allotted for short
stories and poetry in 2009 would eliminate the enormous difference between 2009 and
1968 in overall time devoted to literary study.
There is also no increase in outside-of-class reading to compensate for the decreased
time on book-length works over the grades. Although most teachers (87 percent) require
outside reading at all grade levels (whether it is done is a different matter), the number of
pages assigned per week remains constant: only 49 percent in grade 9, 54 percent in grade
10, and 52 percent in grade 11 require over 40 pages per week (Table 22).
a
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27
Table 21: Percentage of Class Time Spent on a Book-Length Work of Fiction,
Poetry, or Drama
0
%
0
2
2
Grade
Grade 9
Grade 10
Grade 11
1-10
%
11-20
%
21-30
%
31-40
%
41-50
%
51-70
%
71-100
%
26
30
39
30
28
23
18
19
17
7
9
4
5
5
7
10
3
0
4
6
7
Number
of Classes
207
242
246
Table 22: Approximate Number of Pages Per Week
Grade
Grade 9
Grade 10
Grade 11
1-10
pages
11-20
pages
21-30
pages
31-40
pages
41-50
pages
51-70
pages
71-100
pages
101+
pages
Number
of Classes
13%
9%
13%
21%
15%
10%
15%
13%
19%
2%
8%
5%
16%
20%
11%
6%
5%
7%
21%
20%
27%
6%
9%
7%
186
204
215
On the other hand, 60 percent of the classes at each grade level spend from nine to
over 20 class periods per year on literary non-fiction (Table 23). That seems like a high
percentage. However, we have information on time for literary non-fiction for only 511
classes in contrast to information on time for a major novel, play, or book-length poem for
almost 700 classes. The number of classes for which we have information on technical or
informational reading is even smaller; only 237 classes are accounted for (see Table 24). We
do not know why teacher information drops off for these other genres. While technical/
informational texts are not assigned in over 500 courses, Appendix H provides a list of
what those English teachers who responded indicated were the general kinds of technical
or informational materials they assign and teach.
Table 23: Percentage of Class Time Spent on Literary Non-Fiction
Grade
Grade 9
Grade 10
Grade 11
None
6%
5%
6%
1 to 2
11%
8%
8%
3 to 4
1%
3%
7%
5 to 6
17%
15%
16%
7 to 8
6%
5%
4%
9 to 10
14%
18%
20%
11 to 20
26%
21%
16%
21+
20%
25%
23%
Number of
Classes
148
177
186
Table 24: Approximate Number of Periods/Blocks Spent on a Technical or
Informational Text
Grade
Grade 9
Grade 10
Grade 11
1 to 2
26%
26%
28%
3 to 4
0%
4%
5%
5 to 6
22%
19%
17%
7 to 8
3%
1%
3%
9 to 10
20%
23%
21%
11 to 20
11%
18%
15%
21+
18%
9%
11%
Number of
Classes
76
74
87
5. Summary
Reader response and cultural/historical/biographical approaches dominate high school
teachers’ pedagogy for literary study in standard and honors courses. Using Arthur Applebee’s
percentages in his 1993 report as a baseline for comparison (the only baseline available),25 we
find a sharp decrease in close reading of assigned texts from the late 1980s to the present. In
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his study, teachers rated the influence of different approaches to literary study on classroom
pedagogy: 50 percent gave close reading a very high rating, while 67 percent gave reader
response a very high rating. In the present study, however, a large majority of teachers in
grades 9, 10, and 11 are more likely to use non-analytical approaches—approaches other
than close reading—for imaginative literature and for literary non-fiction.
Using James Squire and Roger Applebee’s 1968 percentages as a baseline for comparing
the amount of instructional time devoted to literary study, we also find a sharp decrease—
from 52 percent to perhaps 30 percent or less. One of the most disturbing findings of our
study is the decrease over the grades in the amount of time students in standard and honors
courses spend studying a book-length literary work. Well over 50 percent at all three grade
levels spend 20 percent or less of their time on a major literary work. By grade 11, over
40 percent spend less than ten percent of their time on a major literary work. In addition,
small group work is used in a majority of classes at all three grade levels to organize literature
discussion in the classroom, further diminishing the amount of class time on close reading,
although we cannot tell how often small group work is used. a
IV. DISCUSSION AND CONCLUSIONS
A. Curricular Issues
Much change has taken place in the past four decades in the content of the high school
English curriculum for students in a standard or honors course. The most frequently
mentioned titles on these lists (often denigrated as the “classics” or the “canon”) are assigned
in only a small percentage of courses. These low frequencies suggest how little is left of a
progressively challenging literature curriculum that is centered on the civic and literary
heritage of English-speaking people.
How much change has taken place in just the past 20 years alone is evident in Table
6, which shows what percentage of the 406 teachers in the ALSCW survey teach the ten
titles most frequently assigned in a majority of the public schools in Arthur Applebee’s 1989
survey (the last national survey available). Although differences in the unit of analysis and
in the kinds of classes included in the surveys do not make exact comparisons possible, it
is reasonable to conclude that many, perhaps most, high school students today do not read
what their counterparts only a few decades ago read. Nor do they read as well, according
to current indices of academic achievement. Moreover, there is less time allotted to literary
study today, as our survey found, so students have fewer opportunities to engage in the
study of literature altogether.
What difference does it make what students read today? One might argue that teachers
and students now exercise their preferences, and perhaps their preferences are just as
educational as the curriculum assigned years ago was. However, there is no evidence from
any source that changes in the content of the English curriculum have led to improved
a
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reading and writing by the average high school graduate. Given the results of our survey, it
would be surprising if they did. So far as we can tell, students in standard or honors classes
across this country do not, overall, read more challenging groups of titles from grade 9 to
grade 11, and, unless they take an AP course in grade 12, there is no reason to expect grade
12 to be any more challenging than grade 9 was. What students read today is therefore not
unrelated to the poor reading and writing skills they bring to postsecondary coursework—
skills that would be developed by a progressively challenging curriculum.
Our schools cannot develop mature understanding and uses of the English language
without such a curriculum, the contents of which should be distinct from lists of “young
adult” or “adolescent” fiction. Unfortunately, our public universities do not provide much
guidance to high school English teachers about what knowledge of English language and
literature incoming freshmen should have. For example, the University of California’s current
guidelines for high school course credit expect that entering students “have attained a body
of knowledge that will provide breadth and perspective to new, more advanced studies.”
But the University of California does not provide even general clues to what that body of
knowledge is for English language and literature.
Moreover, most state standards do not expect high school students to acquire much if
any knowledge of major movements in the history of the literature written in English and
of culturally and historically significant works and authors in the English language. My
2005 review of state standards for the English language arts found that 25 states don’t even
mention the existence of an “American” literature (defined however broadly they wished) in
their English standards.26 Ipso facto, they cannot—and do not—require students to study
historically and culturally significant writers or works in the English language. Instead,
many states expect students to study “culturally relevant” texts (a term that is indefinable),
as well as “classical and contemporary works from all cultures”—an impossibility for the
typical English teacher if taken literally as a standard.
B. Pedagogical Issues
Perhaps more damaging than the absence of a coherent and progressively challenging
literature and reading curriculum are the pedagogical approaches English teachers tend to
use. It is bad enough that they must use precious instructional time to address the contentempty and culture-free skills dominating state standards and tests, over which they have
little control. But they also tend to use approaches to literary study that divert student
attention from the assigned text and consume much of the time they can allot for literary
study. While biographical or other materials may supplement a close reading of a text by,
for example, introducing the seminal ideas of the author’s time, a stress on personal response
or on contextual materials does not replace the need to teach students how to read the text
itself. As Paul Cantor, an English professor at the University of Virginia, has observed: “If
you really want to learn something about Shakespeare, go back to the plays—that is where
his wisdom is to be found and not in any account of the details of his evidently rather
ordinary life.”27
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30
Analytical reading takes time to teach, and as much as time for serious literary study has
been diminished by state demands for accountability, time has been even more diminished
by non-analytical approaches. It is not clear why a large majority of teachers at each grade
level choose to use such approaches more frequently than close reading for teaching literary
non-fiction as well as fiction, poetry, and drama, but several literary scholars have commented
on the effects of these non-analytical methods on students.
According to Gerald Graff, a professor of English and education at the University of
Illinois at Chicago, among the problems faced by those who teach literature at the college
level are that their students do not know how the literary texts they are assigned to read
matter in general, and how these texts might matter to them personally.28 Today’s students
do not enjoy literary analysis, Graff comments, and they find the search for “hidden
meanings” mystifying. Nor do they know how to write formal English. Graff accounts for
the unmotivated, uncomprehending students overwhelming college English classrooms in
the following way: They have not been taught how to summarize what they read and make
arguments about it—the “name of the game in academe.” Graff does not try to explain why
they have not been taught to do this, but Thomas Carnicelli does.
For many years the Director of the English Teaching Major at the University of New
Hampshire as well as a professor of English, Carnicelli sees incoming freshmen lacking in
“traditional literacy.”29 In his view, the effort to get “reluctant or indifferent students to read
literature” has led to a problem that is “just as bad: the widespread acceptance of a literary
theory that can undermine the value of reading literature in the first place.” The theory to
which he refers is the reader response approach, which he does not consider “a viable basis
for teaching literature in a useful and responsible way:”
It provides no clear standard of validity for either teachers or students. It
gives the teacher no clear basis of authority: how is the teacher to direct
a class discussion or grade a paper if all responses are equal? Finally, it
undermines the whole purpose of having students read literature in the first
place: to learn new perspectives on human experience. How can students
learn anything from literary texts if they do not pay careful attention to
what the authors have to say? (P. 226)
Whose voice can be more authoritative on the influence of a reader response approach than
that of an English teacher who spent 28 years in a junior high school classroom? According
to Irma DeFord, the method relies on personal anecdote as a point of entry into imaginative
prose and teaches students little else “except how to identify with the characters and plot
so they recognize themselves, their problems, and their own life experiences in texts.”30
The influence of a reader response approach on several generations of elementary and
secondary English teachers must be apparent in every college English class. How can an
English professor expect freshman students to argue about any one interpretation of a text
when they have been taught for 12 years that they are to “respond to literary works on the
basis of personal insights and respect the different responses of others” (a Montana standard)
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31
or “understand that a single text will elicit a wide variety of responses, each of which is valid
from a personal, subjective perspective” (a Delaware standard)? College students cannot
easily engage in an argument about a literary work they are studying when they have not
learned that they must first try to understand what the author wrote.
Nor can they readily invoke historical or cultural context to inform their reading. Today,
most students enter and leave high school with little historical and cultural knowledge, as
NAEP tests in history and civics also inform us. If high school English teachers do supply
their students with background materials for a work they are studying, the content of
these contextual materials is apt to be as new to them as the work is, which means that the
teacher’s use of them in the classroom is more likely didactic than analytic.
The lack of relevant historical and cultural content in preceding grades may be accounted
for by the popular methods used by reading and language arts teachers in K-8. These methods
are indifferent to the role that background knowledge plays in understanding a text, especially
informational texts, and they inhibit articulation of a coherent reading curriculum through
the elementary and middle grades. From his own work with K-8 teachers, E.D. Hirsch,
Jr., professor of English at the University of Virginia, sees process-oriented approaches
(teaching specific processes like setting a purpose, making inferences, and rereading what
has been read) and skills-driven approaches (teaching generic skills like finding a main idea
and supporting details) responsible for the absence of a knowledge-based curriculum in
K-8 that would help children to acquire higher levels of reading comprehension. He points
to studies on reading comprehension by cognitive psychologists showing that children
cannot understand texts of increasing complexity and difficulty if they cannot bring some
general world knowledge to their reading. As he notes, much of the information needed to
understand an informational text is not provided by the information expressed in the text
itself but must be drawn from the language user’s prior knowledge of the person, object, state
of affairs, or event the discourse is about. In his view, the absence of a curriculum teaching
common world knowledge accounts for the gaps in achievement among demographic
groups in this country and the generally low reading skills of American students across the
curriculum. 31
To compound the problems in literary study posed by English teachers’ preferences for
non-analytical approaches, the process and skills approaches described above have spread
from their intended use at the elementary level to the high school level, stimulated by state
standards and assessments. They will become firmly entrenched in states adopting the
English language arts standards developed in 2010 as part of the Common Core Initiative
and the assessments based on these “national” standards.
In a possibly self-contradictory effort to upgrade high school students’ reading and
writing skills and to introduce more academic rigor in high school coursework, many states
and school districts have begun to encourage if not mandate more Advanced Placement
course-offerings, including the two AP English courses—one on Literature and Composition
and the other on Language and Composition. This effort needs to be noted because one of
the federal government’s new education priorities is a 50 percent increase in the number
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32
of U.S. high school students participating in AP or college-level classes by 2016. Increased
enrollment in these two AP English courses does mean that more high school students are
being exposed to high quality texts. Although the College Board no longer prescribes the
specific texts the AP English teacher must teach (as it does for AP foreign language and
literature courses), the College Board must approve the teacher’s syllabus before the course
can be taught as an AP course. Moreover, AP teachers must attend the College Board’s
professional development workshops, which stress close, analytical reading.32
To improve student performance in AP courses and to prepare students for collegelevel work better than their current curricula do, the College Board has developed several
programs outlining English language arts curricula for middle and high school. These
programs address only skills, not specific authors, titles, literary periods, and movements.
Skills-driven approaches may foster students’ ability to perform better on performance-based
literacy assessments. They do not by themselves, however, enable students to reach the full
understanding of complex literary texts that should be assigned by grade 10 and higher—for
those texts require background and contextual knowledge in readers. Instead, they teach
students to read a literary work as if it were a reading comprehension exercise (i.e., devoid
of a literary history or literary context) or a Rorschach blot (i.e., meaning whatever the
student chooses to see in it). a
a
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33
V. RECOMMENDATIONS
Our findings inspire recommendations in three areas: K-12 curriculum and standards
policies; undergraduate and professional preparation programs for prospective English
teachers; and state assessments in the English language arts.
1. An appropriately challenging English language arts curriculum is needed for students in
the middle third of academic performance in grades 7-12. We applaud the USED’s effort
to make more Advanced Placement English courses available in our high schools and to
encourage enrollment in them. However, our findings suggest that the needs of those who
are not in the top or bottom third of their grade-level peers are not being met. (Intervention
programs like America’s Choice treat all students in non-AP classes as the bottom third,
according to the Arkansas teachers.)
2. States need to develop literature and reading standards at the high school level that
shape a progressively more challenging curriculum and include historically and culturally
significant texts, movements, and periods for English-speaking people.
3. English departments at public colleges and universities need to include the analytical study
of literature as a strong component of their curriculum, especially for students planning to
become secondary English teachers.
4. State departments of elementary and secondary education and boards of higher education
should require programs preparing English and reading teachers to emphasize how to do
and teach close analytical reading.
5. The states and the U.S. Department of Education need to give priority to the funding
of professional development programs that emphasize teaching close, careful reading using
historically and culturally significant texts.
6. The U.S. Department of Education should require common assessments in the English
language arts that use reading passages, writing prompts, and types of questions similar to
those on British Columbia’s high school literature exit test and the Massachusetts grade
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ENDNOTES
10 tests.33
1
National Center for Education Statistics, National Assessment of Adult Literacy (Washington, DC: U.S. Department of Education, 2005).
2
http://nationsreportcard.gov/reading_math_grade12_2005/s0206.asp.
3
National Endowment for the Arts, Reading at Risk: A Survey of Literary Reading in
America (Washington, DC: U.S. Department of Education, 2004). While book reading
by 18- to 24-year-old women slipped from 63 percent to 59 percent, book reading by
18- to 24-year-old men plummeted from 55 percent to 43 percent, triple the decline
for women. See also Mark Bauerlein and Sandra Stotsky, “Why Johnny Won’t Read”
(Washington Post, Tuesday, January 25, 2005). http://www.washingtonpost.com/wpdyn/articles/A33956-2005Jan24.html.
http://www.arts.gov/research/readingonrise.pdf.
5
http://www.oecd.org/dataoecd/1/63/34002454.pdf.
6
enaissance Learning, What Kids Are Reading: The Book-Reading Habits of Students in
R
American Schools (Wisconsin: Renaissance Learning, Inc., 2009).
7
merican College Testing, ACT National Curriculum Survey 2005-2006 (Iowa City,
A
IA: ACT, 2007); American College Testing, “Aligning postsecondary expectations and
high school practice: The gap defined,” Policy Implications of the ACT National Curriculum Survey® Results 2005–2006 (Iowa City, IA: ACT, 2007).
8
ill and Melinda Gates Foundation. Background: Postsecondary Success Initiative, NoB
vember, 2009. http://www.gatesfoundation.org/united-states/Documents/improvingpse-performance.pdf.
9
rthur Applebee, Literature in the Secondary School: Studies of Curriculum and InstrucA
tion in the United States, Research Report No. 25 (Urbana, IL: National Council of
Teachers of English, 1993).
4
10
lthough literary scholars articulate approaches to literary study with sophistication
A
and nuance, curriculum specialists and K-12 teachers have tended to express and teach
them simplistically and reductively, to judge by the way in which they appear in state
English language arts standards. See many other examples in Appendix C in Sandra
Stotsky, The State of State English Standards (Washington, D.C.: Thomas B. Fordham
Institute, 2005), pp.114-117.
a
a
35
11
S carvia Anderson, Between the Grimms and “The Group” (Princeton, NJ: Educational
Testing Service, 1964).
12
J ames Squire and Roger Applebee, High School English Instruction Today: The National
Study of High School English Programs (Urbana, IL: National Council of Teachers of
English, 1968).
13
S ee, for example, Arthur Applebee, Robert Burroughs, and Anita Stevens, “Creating
Continuity and Coherence in High School Literature Curricula,” Research in the Teaching of English, 2000, 34: 396-429.
14
iane Ravitch, The Death and Life of the Great American School System: How Testing
D
and Choice are Undermining Education (New York: Basic Books, 2010). According to
Ravitch, this country did have a “de facto curriculum for most of the nineteenth century
when the textbooks in each subject were interchangeable.” As she further notes: “For
the first half of the twentieth century as well, we had an implicit national curriculum
that was decisively shaped by the college entrance examinations of the College Board;
their highly respected examinations were based on a specific and explicit syllabus,
designed by teachers and professors in each subject” (p. 232).
15
The Concord Review, “A Study of the Assignment of History Term Papers in U.S.
Public High Schools” (Sudbury, MA: The Concord Review, Inc., 2002).
16
rthur Applebee and Alan Purves, “Literature and the English Language Arts,” in
A
Handbook of Curriculum Research, ed. Phillip Jackson (New York: Macmillan, 1992),
pp. 726-748.
17
oted by James A. Grimshaw, Jr. in a review of Robert B. Heilman: His Life in Letters,
N
edited by Edward Alexander, Richard Dunn, and Paul Jaussen (Seattle and London:
University of Washington Press, 2009). Academic Questions, 2010, 23: 136-142.
18
S ee, for example, Cleanth Brooks, Modern Poetry and the Tradition (Chapel Hill, NC:
University of North Carolina, 1939); Cleanth Brooks and Robert Penn Warren, Understanding Poetry (NY: Henry Holt., 1938); John Crowe Ransom, The New Criticism
(Norfolk, CT: New Directions, 1941); Cleanth Brooks and Robert Penn Warren,
Understanding Fiction (NY: Appleton-Century-Crofts, 1938, 1943); and Cleanth
Brooks and Robert Heilman, Understanding Drama (NY: Henry Holt, 1948).
19
I n The New Criticism (1941), John Crowe Ransom called for a more “objective” criticism focusing on the intrinsic qualities of a work rather than on its biographical or
historical contexts.
20
I mportant antecedents to reader response theories can also be found in the earlier work
of I.A. Richards.
a
a
36
21
S ee Stewart Justman’s article “Bibliotherapy: Literature as Exploration Reconsidered,” Academic Questions, 2010, 23: 125-135.
22
ppendix C in Sandra Stotsky, The State of State English Standards (Washington,
A
D.C.: Thomas B. Fordham Institute, 2005), pp.114-117.
23
avid Jolliffe, “On reading and writing analytically: Theory, method, crisis, action
D
plan,” in A.P. English Language: Reading and Writing Analytically, ed. David A. Jolliffe (New York: The College Board, 2008), pp. 5-18.
24
S ee Tables 27 and 29 in Sandra Stotsky, Christian Goering, and David Jolliffe,
Literary Study in Grades 9, 10, and 11 in Arkansas. Unpublished report. Department
of Education Reform: University of Arkansas, 2010. http://coehp.uark.edu/literary_study.pdf.
25
Table 7.4 on page 123.
26
S andra Stotsky, The State of State English Standards 2004 (Washington, DC: Thomas
B. Fordham Institute, 2005).
27
aul A. Cantor. “Average Bill.” Book Review of Shakespeare, by Michael Wood.
P
Claremont Review of Books. Summer 2004, Vol. IV, No. 3, pp. 66-70.
28
erald Graff, Clueless in Academe: How Schooling Obscures the Life of the Mind (New
G
Haven: Yale University Press, 2003).
29
omas Carnicelli, “The English Language Arts in American Schools: Problems and
Th
Proposals,” in What’s at Stake in the K-12 Standards Wars: A Primer for Educational
Policy Maker, ed. Sandra Stotsky (NY: Peter Lang, 2000), pp. 211-236.
30
Personal communication, September 2005.
31
E. D. Hirsch, Jr., The Knowledge Deficit (Boston: Houghton Mifflin, 2007).
32
ersonal communication from Kay Wilson at College Board’s Texas office, SeptemP
ber 2009.
33
S ee Common Core, Why We’re Behind: What Top Nations Teach Their Students But We
Don’t (Washington, D.C.: Common Core, 2009), p.49, for a sample of test items
and reading requirements in British Columbia’s high school exit test.
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APPENDIX A:
Methodology for the ALSCW High School Literature Survey
A. Sample Selection
Quality Education Data (QED) provided the database that the University of Arkansas Survey
Research Center (SRC) used for selecting a nationally representative sample of teachers for
this study. School information is gathered by QED from various sources and checked by
personnel each year after the beginning of the school year to verify the accuracy of the data.
The database generated for this project included all public schools (not including alternative
schools, public charter schools, private schools and Catholic schools) in the United States
containing the grade ranges 7 – 12, 9 – 12, 10 – 12, and grade 9 only. Schools with fewer
than 100 students were also excluded. After the sample database was delivered to the SRC,
all records from Arkansas were excluded to avoid contacting teachers being surveyed by
the University of New Hampshire for a similar statewide survey conducted by the author
of this study.
The database contained records for up to five teachers for each school represented in the
sample. Schools were assigned to a division (based on the nine divisions used by the U.S.
Census Bureau) and a sample was selected proportionate to the population of students in
each division. To obtain a random sample of teachers from across the country, schools were
randomly selected from the population and then teachers were randomly selected from the
schools.
B. Data Collection
The ALSCW High School Literature Survey incorporated several methods of data collection
(see Appendices B and C for the survey instrument and recruitment materials). For the first
wave of the survey, 1,500 randomly selected teachers were contacted. Pre-survey letters were
sent to these teachers on April 12 and 13, 2009. Calls were made to these teachers from
April 14 to May 11. If the original sample did not list names for teachers at the school,
office staff who answered the phone were asked to provide a teacher name for easier contact.
Messages were left if necessary, including a toll-free number for teachers to call the SRC if
they were engaged at the time of the call. Calling was limited to school hours according to
the time zone of the teacher’s school.
If individual teachers did not wish to complete the survey by telephone, they were asked
to volunteer their email address. If they did so, an email was sent to them providing a link
to a web survey as well as a unique PIN so that they could take the survey via the Internet
at their convenience. Emails were sent starting on April 22 and were sent every two to three
days until this phase of the survey was completed.
On April 16, a change was implemented to the original survey instrument to allow
teachers to tell interviewers that the information for their second class was the same as for
their first class if the classes discussed were different sections of the same course. All questions
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were still asked of the respondents, but an option was added to each question that read
“Answers same as first course” so that the survey could be completed more quickly.
Because of a lower than expected response rate, on May 11 we added additional teachers
to the database. A new sample database was created that included one teacher randomly
selected from each of the 18,077 schools in the population database provided by QED.
If a school had been included in the first phase of the survey, and if a previously selected
teacher had not refused or been called more than ten times, the teacher was included in
the new sample database. If the teacher had been called more than ten times, a new teacher
was selected for the school. Teachers in this database were called from May 11 to June 26,
2009. After June 1, if teachers were out for the summer, office staff was asked to provide
an email address so that the SRC could send an email to teachers asking them to complete
the survey. Four waves of emails were sent to these teachers during June.
In September, a mail survey of 1,300 teachers was planned. The first wave of surveys was
sent to 1,300 randomly selected teachers on October 1, 2 and 5. A reminder postcard was
sent to non-responding teachers on October 7 and 8 and a second survey sent on October
12. By the time we ended the entire data collection process, we had obtained responses
from a total of 406 teachers across the country. They had described a total of 773 courses,
or classes, in grades 9, 10, and 11, and had indicated for 768 of those courses the type of
course—standard or honors (see tables in Appendix D).
C. Use of ATOS for Books as the Readability Formula
Curriculum developers and educational publishers have long used quantitative (objective)
measures as well as qualitative (impressionistic) measures reflecting teachers’ or editors’
judgments to estimate the reading difficulty of a literary work and other kinds of reading
material. The Dale-Chall Readability Formula, for example, still one of the most used
readability formulas, was developed in the late 1940s. Like most other readability formulas,
it consists of a measure of word difficulty and a measure of sentence difficulty. Unlike some
other formulas, it also produces a score that indicates the grade level placement for a text.
Gauging the reading level of a literary text has always posed challenges—to teachers
and publishers. Readability formulas do not work well for poetry, for example. Adjustments
need to be made to account for the complexity of meaning in what might appear to be a
linguistically simple text. Life experiences as well as cultural and literary knowledge strongly
influence understanding of a literary text, in contrast to the more straightforward, literal
demands made by the vocabulary and textual density of science textbooks.
The assumption that control of vocabulary difficulty and the complexity of sentence
structure was not as necessary at the high school level because most high school students
could be expected to read adult-level writing disappeared forever during the 1970s and
1980s when the number of students who could not read beyond an elementary school
level of difficulty began to increase in our high schools. In response to teachers’ requests for
textbooks that could accommodate a wide range of reading skills, publishers deliberately
and regularly reduced the vocabulary load and syntactic complexity of their subject area
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textbooks—usually using a readability formula to gauge their level of difficulty.1 Some
English classes used abridged or adapted versions of well-known literary texts for poorer
readers. Many other English teachers sought literary texts that were shorter, less complex
in their plots and characterizations, and more contemporary in their themes and settings
in an effort to address both their students’ limited reading skills and limited motivation to
read.
To gauge the level of reading difficulty of the major literary works that English teachers
told survey interviewers they assigned, we relied on ATOS for Books, the readability formula
developed by Renaissance Learning. ATOS for Books incorporates book length (number
of words), an important variable not previously used in readability formulas. The formula
is thus adjusted upward for longer books and downward for shorter books.2 Moreover,
the score it produces indicates the grade level placement for a text so it is readily useful to
teachers or publishers.3
D. Teachers in the Survey
Altogether, 406 teachers responded to invitations to fill out the survey. D1 and D2 in
Appendix D show how the percentage and number of responding schools and the percentage
and number of students in the responding schools in the nine census divisions of the country
compare with the total percentage and number of schools and students in each division.
The percentages are about the same, suggesting that the teachers and schools participating
in this survey are a representative sample with respect to the total number of schools and
students in this country.
Slightly differing numbers of teachers responded to the questions about their background
(Appendix E, E1 to E11). Almost 40 percent have been teaching English, regardless of grade
level, for ten or fewer years; about 32 percent have been teaching English, regardless of grade
level, for twenty-one years or more (E1). About 54 percent have been teaching English in
grades 9, 10, and 11 for eleven years or more (E2). Almost 79 percent have a Bachelor’s
Degree in English or literature (E3). The largest numbers of teachers who were non-English
majors were in: education/special education, speech/communication/journalism, and social
sciences (E4). Only 36 percent indicated they had a master’s degree in English or in the Arts
and Sciences; another 28 percent had a different kind of master’s degree, and the others (36
percent) had no master’s degree (E6). However, the answers to type of master’s degree (E7)
suggest that many of those indicating a master’s degree in English or Arts and Sciences may
have been referring to a Master of Arts in English Education.
In response to whether they teach only English courses or other subjects as well, 65
percent indicated they teach only English or literature, while 35 percent said they teach
other subjects as well (E9). About 43 percent are 50 years or older (E10), and 73 percent
are female (E11). Of the 402 teachers who indicated the level of their course, 78 percent
described a standard course, and 22 percent described an honors course (Appendix D, D 4).
Together, they described 773 different courses, or classes: 237 grade 9 classes, 265 grade 10
classes, and 271 grade 11 classes (Appendix D, D 3). Almost 66 percent teach 25 or fewer
students per class (Appendix D, D 6).
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APPENDIX A ENDNOTES
1
S ee, for example, Jeanne Chall, Sue Conard, and Sue Harris, An Analysis of Textbooks in
Relation to Declining SAT Scores (NJ: College Entrance Examination Board, 1977).
2
S ee Michael Milone, The Development of ATOS: The Renaissance Readability Formula, a
2008 report available from Renaissance Learning.
3
web site gives access to books in Accelerated Reader’s database: http://www.arbookfind.
A
com/Default.aspx.
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APPENDIX B:
Survey Instrument
Q1 A
Let’s start with the first class. For this class, please think about the first 9th, 10th or 11th
grade course you teach on Monday morning or the first course you teach to these grade
levels in the week. What is the name of the class?
Q2 A
What grade are most of the students in?
Q3 A
Is this a standard course or an honors course?
Q4 A
How many students were in this class the last time you taught it?
Q5 A
Do you regularly use a literature anthology in this class?
Q6 A
What is the name and date or edition of the anthology?
Q7 A
About what percentage of the selections in the anthology do your students read?
Q8 A
What novels and plays do you assign and teach in this class? Any others?
Q9 A
What major short story authors do you assign and teach in this class? Any others?
Q10 A
What major poets do you assign and teach in this class? Any others?
Q11 A
How are these works and/or authors selected?
Q12 A
On average, what percentage of class time, that is, how many periods or blocks per week,
do you spend on book-length works [fiction, poetry, and drama] in the academic year for
this class?
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Q13 A
How do you typically organize discussion in this class? Check all that apply.
Whole class discussions; Small discussion groups; Prepared teacher questions;
Student questions; Some other way? Specify.
Q14 A
What forms of assessment do you employ? Check all that apply.
Book reports; Book reviews; Oral reports; Research papers; PowerPoint or other media
presentations; Exams; Something else? Specify.
Q15 A
Do your students do any of the following kinds of writing regularly either in class or outside of class in response to assignments? Check all that apply.
Journal writing; Essays; Quizzes; Something else? Specify.
Q16 A
Do you assign reading to be done at home?
Q17 A
About how many pages per week?
Q18 A
Do you require a major research paper?
Q19 A
How much total class time do you allot for it?
Q20 A
I’d like to read you a short description of several approaches in literary reading and study
that you might apply. Which of the following approaches might best describe your approach
to literary reading and study?
Close reading or New Criticism; Biographical or contextual; Reader response;
Multicultural; Something else? Specify
Q21 A
What book-length works of literary non-fiction, such as biographies, speeches, essays,
diaries, or autobiographies, do you assign and teach in this first class? Any others?
Q22 A
What major authors of essays and speeches do you assign and teach?
Q23 A
How are these non-fiction works or authors or works selected? Check all that apply.
By you, the teacher; By your department; By curriculum decision; By students;
Some other way. Specify.
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Q24 A
On average, what percentage of class time, that is, how many periods or blocks, do you
spend on book-length non-fiction work in the academic year in this class?
Q25 A
Which of the following approaches might best describe your approach to the reading and
study of literary non-fiction?
Multicultural; Something else? Specify.
Q26 A
What major technical or informational texts do you assign and teach in this class? Any
others?
Q27 A
How are these informational texts selected? Check all that apply.
By you, the teacher; By your department; By curriculum decision; By students; Some
other way? Specify.
Q28 A
spend on technical or informational texts in the academic year in this class?
____________________________________________________________________
Q1 B
Now I’d like to ask the same questions about the second course you teach to 9th, 10th
or 11th graders on Monday morning or during the week. Again, please exclude remedial,
advanced, AP or IB classes or elective classes from this survey. What is the name of the
second class?
Q2 B
Just to confirm, what grade is this course? What grade are most of the students in?
Q3 A
Is this a standard course or an honors course?
Q4 A
How many students were in this class the last time you taught it?
Q5 A
Do you regularly use a literature anthology in this class?
Q6 A
What is the name and date or edition of the anthology?
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Q7 A
About what percentage of the selections in the anthology do your students read?
Q8 A
What novels and plays do you assign and teach in this class? Any others?
Q9 A
What major short story authors do you assign and teach in this class? Any others?
Q10 A
What major poets do you assign and teach in this class? Any others?
Q11 A
How are these works and/or authors selected?
Q12 A
On average, what percentage of class time, that is, how many periods or blocks per week,
do you spend on book-length works [fiction, poetry, and drama] in the academic year for
this class?
Q13 A
How do you typically organize discussion in this class? Check all that apply.
Whole class discussions; Small discussion groups; Prepared teacher questions;
Student questions; Some other way? Specify.
Q14 A
What forms of assessment do you employ? Check all that apply.
Book reports; Book reviews; Oral reports; Research papers; PowerPoint or other media
presentations; Exams; Something else? Specify.
Q15 A
Do your students do any of the following kinds of writing regularly either in class or outside of class in response to assignments? Check all that apply.
Journal writing; Essays; Quizzes; Something else? Specify.
Q16 A
Do you assign reading to be done at home?
Q17 A
About how many pages per week?
Q18 A
Do you require a major research paper?
Q19 A
How much total class time do you allot for it?
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Q20 A
I’d like to read you a short description of several approaches in literary reading and study
that you might apply. Which of the following approaches might best describe your approach to literary reading and study?
Multicultural; Something else? Specify.
Q21 A
What book-length works of literary non-fiction, such as biographies, speeches, essays,
diaries, or autobiographies, do you assign and teach in this first class? Any others?
Q22 A
What major authors of essays and speeches do you assign and teach?
Q23 A
How are these non-fiction works or authors or works selected? Check all that apply.
Q24 A
spend on book-length non-fiction work in the academic year in this class?
Q25 A
Which of the following approaches might best describe your approach to the reading and
study of literary non-fiction?
Close reading or New Criticism; Biographical or contextual; Reader response; Multicultural; Something else? Specify.
Q26 A
What major technical or informational texts do you assign and teach in this class? Any
others?
Q27 A
How are these informational texts selected? Check all that apply.
Q28 A
spend on technical or informational texts in the academic year in this class?
____________________________________________________________________
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D1
Now I’d like to ask a few questions about your background for statistical purposes. For
how many years have you been teaching English or literature, regardless of grade level?
D2
How many years have you been teaching English in grades 9, 10, or 11?
D3
Do you have a Bachelor’s Degree in English or Literature?
D4
What was your undergraduate major if not in English or Literature?
D5
From what college or university did you receive your Bachelor’s Degree?
D6
Do you have a Master’s Degree? If yes, is it in English or Arts and Sciences?
D7
If it is in English or Literature, is your Master’s Degree MA, MAT, or MED?
D8
From what college or university did you receive your Master’s Degree?
D9
Do you teach only English courses or do you teach other subjects as well?
D10
What is your age?
D11
And, I am required to ask you this, are you male or female?
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APPENDIX C:
Recruitment Materials
Pre-Survey Letter
Dear <Teacher Name>,
Project:
Literary Works, NonLiterary Works and Teaching
Approaches Used in High
School English Classes
Sponsors:
Association of Literary
Scholars, Critics, and Writers
The Concord Review
California Reading &
Literature Project
Financial Support from:
We write to ask you to participate in a national survey
of the major literary and non-literary works assigned,
and the teaching approaches used by a representative
group of English teachers in grades 9, 10, and 11. The
purpose of this study—co-sponsored by the Association
of Literary Scholars, Critics, and Writers, The Concord
Review, and the California Reading and Literature Project—is to develop an accurate picture of what is taught
in these grades and recommend ways to provide the
nation’s English teachers with effective resources for
teaching a strong 21st-century English curriculum.
We ask for 15 to 20 minutes of your valuable time so
that you can provide this project with what we hope you
will agree is important information for a worthy cause.
In the next few days, you will receive a call from the
Survey Research Center at the University of Arkansas
to schedule a convenient time for a telephone interview.
Participation is voluntary. If you have any questions regarding the survey, contact the Survey Research Center
at (888) 621-1209.
Appreciatively,
University of Arkansas
National Endowment for the
Humanities
Lynde and Harry Bradley
Foundation
a
Sandra Stotsky, Project Director
Professor of Education Reform
21st Century Chair in Teacher Quality
The University of Arkansas’ Institutional Review Board
may be contacted at 479-575-2208 (CDST).
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48
Email to Teachers Requesting a Web Survey
You kindly requested a web version of the national survey of the major literary and nonliterary works assigned, and the teaching approaches used, by a representative group of
English teachers in grades 9, 10 and 11. Your responses will make an important contribution
to our understanding of the current high school English curriculum in the United States.
You are one of a relatively small group of 9 – 11 grade English teachers nationwide randomly
selected to complete this survey. Therefore, your response is very important. To access the
web survey, please visit http://survey.uark.edu/currentsurveys.php and select the National
Survey of High School English Curricula. Your pin is <PIN>. Participation is voluntary. If
you have any questions regarding the survey, contact the Survey Research Center at (888)
621-1209 or by email at [email protected].
Appreciatively,
The University of Arkansas’ Institutional Review Board may be contacted at 479-575-2208
(CDST).
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First Email Wave to Teachers Out for the Summer
Project: Literary Works, Non-Literary Works, and Teaching Approaches Used in
High School English Classes
Sponsors: Association of Literary Scholars, Critics, and Writers, The Concord Review, and the California Reading & Literature Project
Financial Support from: University of Arkansas, National Endowment for the Humanities, Lynde and Harry Bradley Foundation
Dear <Teacher Name>:
We write to ask you to participate in a national survey of the major literary
and non-literary works assigned, and the teaching approaches used, by a representative group of English teachers in grades 9, 10, and 11. The purpose of
this study—co-sponsored by the Association of Literary Scholars, Critics, and
Writers, The Concord Review, and the California Reading and Literature Project—is to develop an accurate picture of what is taught in these grades across
the country and recommend ways to provide the nation’s English teachers
with useful resources for teaching a strong 21st-century English curriculum.
You are one of a relatively small group of English teachers in grades 9 – 11
who have been randomly selected to complete this survey. Therefore, your
response is very important. To access the web survey, please visit http://survey.uark.edu/currentsurveys.php and select the National Survey of High School
English Curricula. Your pin is <PIN>. Participation is voluntary. If you have
any questions regarding the survey, contact the Survey Research Center at
(888) 621-1209 or by e-mail at [email protected].
Appreciatively,
(CDST)
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Second Email Wave to Teachers Out for the Summer
Here is your PIN:
<PIN>
The Survey Research Center at the University of Arkansas is conducting a national survey of what is taught in English classes grades 9 to 11 for a research
project co-sponsored by the Association of Literary Scholars, Critics, and
Writers, The Concord Review, and the California Reading and Literature Project.
Your responses are extremely important to us as you are one of a relativel
small group of English teachers in grades 9-11 randomly selected to complete
this survey. We would very much like to hear from you.
The survey is located at:
http://survey.uark.edu/currentsurveys.php
Your personalized identification number is:
<PIN>.
If you have difficulty completing the survey or do not wish to respond,
please contact the Survey Research Center toll-free at 888-621-1209 or electronically at [email protected].
This survey is voluntary and confidential. Neither your name, school name,
phone number, nor e-mail address will be associated with your answers. After you complete your questionnaire, your PIN will be used only to eliminate
your name from future mailings.
Thank you for your time today.
(CDST).
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Third Email Wave to Teachers Out for the Summer
Here is your PIN:
<PIN>
Dear <NAME>:
This is a reminder to complete the National Survey of High School English
Curricula. The website is http://survey.uark.edu (Online Surveys) and your
PIN is <PIN>. You are one of the English teachers who have been randomly
selected to help us learn what major works students across the country are
being asked to read in grades 9 – 11. Therefore, your response is very important, and we would very much like to hear from you.
The survey is being conducted by the Survey Research Center at the University of Arkansas. We would greatly appreciate it if you would take a few
minutes to complete the questionnaire. If you have questions, you can reach
Molly Longstreth of the Survey Research Center by calling 1-888-621-1209,
toll free, or by email at [email protected].
Thank you for your time and assistance in this effort.
(CDST).
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Mail Survey Cover Letter
Project:
Literary Works, NonLiterary Works and Teaching
Approaches Used in High
School English Classes
Sponsors:
Association of Literary
Scholars, Critics, and Writers
The Concord Review
California Reading &
Literature Project
Financial Support from:
National Endowment for the
Humanities
Lynde and Harry Bradley
Foundation
We write to ask you to participate in a national survey
of the major literary and non-literary works assigned,
and the teaching approaches used by a representative group of English teachers in grades 9, 10, and
11. The purpose of this study—co-sponsored by the
Association of Literary Scholars, Critics, and Writers,
The Concord Review, and the California Reading and
Literature Project—is to develop an accurate picture
of what is taught in these grades and recommend ways
to provide the nation’s English teachers with effective
resources for teaching a strong 21st-century English
curriculum.
We ask for 15 to 20 minutes of your valuable time so
that you can provide this project with what we hope
you will agree is important information for a worthy
cause. We would greatly appreciate your taking a few
minutes to complete and mail the questionnaire. You
may be assured of confidentiality. The questionnaire
has an identification number so that we may check
your name off the mailing list as the questionnaire is
returned. Neither your name nor your school will be
associated with the findings. Participation is voluntary.
If you have any questions regarding the survey, contact
the Survey Research Center at (888) 621-1209.
Appreciatively,
The University of Arkansas’ Institutional Review Board
may be contacted at 479-575-2208 (CDST-
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Reminder Postcard
Within the past few weeks, you received a request to complete a questionnaire seeking your knowledge and opinions about the major literary and nonliterary works assigned, and the teaching approaches used, in your school.
If you have already completed the questionnaire, please accept our sincere
thanks. If not, please return it today to the University of Arkansas in the envelope enclosed with your survey. Thank you very much for your help with
this important research. Your responses will help us create recommendations
of ways to provide English teachers with effective resources for teaching a
strong 21st-century English curriculum.
If you did not receive the questionnaire, or if it was misplaced, please call the
Survey Research Center toll free at 888-621-1209 or email [email protected]
and we will send you another.
We appreciate the importance of your time and thank you for your cooperation in completing this survey.
Dr. Sandra Stotsky
a
Dr. Molly Longstreth
Director, Survey Research Center
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APPENDIX D:
Students, Schools, and Courses/Classes
D1: Students Represented by Division Compared with Population Data,
Excluding Arkansas
Number of
Percent of
Number of
Percent of
Students in
Students in
Students in
Students in
Responding
Responding
Division
Division
Division
Schools
Schools
New England
70,7378
4.5
832
4.5
Middle Atlantic
2,098,781
13.3
2,152
11.6
South Atlantic
18.4
2,856,246
18.1
3,404
East South Central
959,211
6.1
999
5.4
West South Central
1,694,098
10.7
2,013
10.9
East North Central
2,507,713
15.9
2,886
15.6
West North Central
1,119,702
7.1
1,208
6.5
Mountain
1,172,800
7.4
1,348
7.3
Pacific
2,677,214
17.0
3,672
19.8
15,793,143
100.0
18,514
100.0
Total
D2: Schools Represented by Division Compared with Population Data,
Excluding Arkansas
Number of
Number of
Percent of
Responding
Schools in
Schools in
Schools in
Division
Division
Division
Division
New England
Percent of
Responding
Schools in
Division
840
4.6
22
5.4
Middle Atlantic
2,305
12.7
53
13.1
South Atlantic
2,606
14.4
74
18.2
East South Central
1,306
7.2
22
5.4
West South Central
2,022
11.2
38
9.4
East North Central
3,145
17.4
58
14.3
West North Central
2,048
11.3
31
7.6
Mountain
1,425
7.9
32
7.9
Pacific
2,399
13.3
76
18.7
18,096
100.0
406
100.0
Total
D3: Number of Courses by Grade Level
9th grade
143
First Course
Second Course
Total
a
10th grade 11th grade
131
128
Total
402
94
134
143
371
237
265
271
773
a
D4: Course Type by Grade Level
Grade level
Q3A and B: Is this a standard course or an honors
course?
Standard
1
9th grade
180
202
218
Total
600
78.1%
Honors
2
54
61
53
168
21.9%
Total
234
263
271
768
D5: Number of Teachers Who Teach Each Combination of Grade Levels
Second Course (Across)
First Course (Down)
9th grade
9th grade/Freshmen
67
34
32
Total
133
35.8%
10th grade/Sophomores
19
69
29
117
31.5%
11th grade/Juniors
10
30
81
121
32.6%
Total
96
133
142
Frequency
Percent
371
D6: Number of Students in a Class
Q4 A and B: How many students were in this class the
last time you taught it?
Valid
10 or less
30
3.9
11 to 15
93
12.0
16 to 20
169
21.9
21 to 25
213
27.6
26 to 30
118
15.3
31 to 35
105
13.6
41
5.3
4
0.5
36 or more
Missing
a
a
55
56
APPENDIX E:
BACKGROUND OF THE TEACHERS IN THE SURVEY
E1: For how many years have you been teaching English,
regardless of grade level?
Frequency
Percent
1 Five years or less
72
18.1
2 Six to ten years
85
21.4
3 Eleven to twenty years
113
28.4
4 Twenty-one to thirty years
70
17.6
5 Thirty-one to forty-four years
58
14.6
Mean
16.44
E2: For how many years have you been teaching English
in grades 9, 10 or 11?
Frequency
Percent
1 Five years or less
94
23.6
2 Six to ten years
95
23.8
3 Eleven to twenty years
100
25.1
4 Twenty-one to thirty years
68
17.0
5 Thirty-one to forty-four years
42
10.5
Mean
14.48
E3: Do you have a Bachelor’s Degree in English or Literature?
Frequency
Percent
315
78.75
2 No
85
21.25
Total
400
100
1 Yes
E4: What was your undergraduate major if not in English or Literature?
Frequency
Percent
1 Education/Special Education
23
27.4
2 Speech/Communication/Journalism
13
15.5
3 Drama/Theater
6
7.1
4 Business
4
4.8
5 Physical Education/Kinesiology
6
7.1
6 Foreign Languages
3
3.6
7 Social Sciences
17
20.2
8 Other
4
4.8
9 History/Government
8
9.5
Total
84
100
a
a
57
E5: State in which you received your Bachelor’s Degree?
Frequency
Percent
Frequency
Percent
Alabama
4
1.0
Arizona
6
1.5
Nebraska
6
1.5
Nevada
1
0.3
Arkansas
3
California
31
0.8
New Hampshire
2
0.5
7.8
New Jersey
4
Colorado
1.0
4
1.0
New Mexico
4
1.0
Connecticut
2
0.5
New York
21
5.3
Delaware
2
0.5
North Carolina
16
4.0
District of Columbia
1
0.3
North Dakota
1
0.3
Florida
9
2.3
Ohio
14
3.5
Georgia
7
1.8
Oklahoma
9
2.3
Hawaii
1
0.3
Oregon
14
3.5
Idaho
3
0.8
Pennsylvania
25
6.3
Illinois
11
2.8
Rhode Island
1
0.3
Indiana
14
3.5
South Carolina
4
1.0
Iowa
8
2.0
South Dakota
2
0.5
Kansas
3
0.8
Tennessee
8
2.0
Kentucky
4
1.0
Texas
25
6.3
Louisiana
4
1.0
Utah
4
1.0
Maine
3
0.8
Vermont
1
0.3
Maryland
4
1.0
Virginia
12
3.0
Massachusetts
12
3.0
Washington
18
4.5
Michigan
19
4.8
West Virginia
2
0.5
Minnesota
5
1.3
Wisconsin
17
4.3
Mississippi
8
2.0
Outside of the U.S.
3
0.8
Missouri
3
0.8
State not identifiable
8
2.0
Montana
6
1.5
399
100
Total
E6: Do you have a Master’s Degree?
Frequency
Percent
Yes, in English or Arts and Sciences
143
35.8
Yes, not in English or Arts and Sciences
86
21.5
Yes, type not specified
26
6.5
No
145
36.3
Total
400
100
a
a
58
E7: If it is in English or Literature, is your Master’s Degree MA, MAT, or MEd
Frequency
Percent
Master of Arts
81
51.6
Master of Arts in Teaching
28
17.8
Master in Education
48
30.6
Total
157
100
E8: State in which you received your Master’s Degree?
Frequency
Percent
Alabama
5
2.1
Arizona
5
2.1
Arkansas
1
0.4
California
12
5.0
Colorado
2
0.8
Connecticut
3
1.3
Florida
7
2.9
Georgia
11
4.6
Illinois
10
4.2
Indiana
11
4.6
Iowa
2
0.8
Kansas
4
1.7
Kentucky
3
1.3
Maine
1
0.4
Maryland
4
1.7
Massachusetts
13
5.5
Michigan
9
3.8
Minnesota
2
0.8
Mississippi
1
0.4
Missouri
2
0.8
Montana
3
1.3
Nebraska
2
0.8
Nevada
1
0.4
New Jersey
4
1.7
New Mexico
1
0.4
New York
19
8.0
North Carolina
5
2.1
North Dakota
1
0.4
Ohio
10
4.2
Oklahoma
6
2.5
a
a
Frequency
Percent
Oregon
11
4.6
Pennsylvania
15
6.3
South Carolina
3
1.3
Tennessee
6
2.5
Texas
12
5.0
Vermont
1
0.4
Virginia
7
2.9
Washington
9
3.8
West Virginia
1
0.4
Wisconsin
8
3.4
College/university outside of the U.S.
2
0.8
State not identifiable
3
1.3
238
100
Total
E9: Do you teach only English courses or do you teach other subjects as well?
Frequency
Percent
Teach only English or Literature
261
65.1
Teach other subjects as well
140
34.9
Total
401
100
Frequency
Percent
21 to 29
53
13.8
30 to 39
92
24.0
40 to 49
74
19.3
50 to 59
117
30.5
60 or older
48
12.5
Total
384
100
Frequency
Percent
Male
109
27.2
Female
292
72.8
Total
401
100
E10: What is your age?
E11: Sex of Course Instructor
a
a
59
60
APPENDIX F:
MAJOR TITLES ASSIGNED IN ALL COURSES
Novels/Plays/Book-Length Poems Assigned
Frequency
Percent
173
172
159
127
95
84
83
72
69
61
59
56
55
44
44
37
35
33
27
26
25
25
23
23
22
21
20
19
18
18
18
17
17
15
14
14
13
13
13
12
6.18
6.14
5.68
4.54
3.39
3.00
2.96
2.57
2.46
2.18
2.11
2.00
1.96
1.57
1.57
1.32
1.25
1.18
0.96
0.93
0.89
0.89
0.82
0.82
0.79
0.75
0.71
0.68
0.64
0.64
0.64
0.61
0.61
0.54
0.50
0.50
0.46
0.46
0.46
0.43
Romeo and Juliet, by William Shakespeare
The Great Gatsby, by F. Scott Fitzgerald
The Odyssey, by Homer
Antigone, by Sophocles
The Catcher in the Rye, by J.D. Salinger
The Pearl, by John Steinbeck
Speak, by Laurie Halse Anderson
Hamlet, by William Shakespeare
Death of a Salesman, by Arthur Miller
Our Town, by Thornton Wilder
The Outsiders, by S.E. Hinton
Things Fall Apart, by Chinua Achebe
Great Expectations, by Charles Dickens
The Grapes of Wrath, by John Steinbeck
Their Eyes Were Watching God, by Zora Neale Hurston
Twelve Angry Men, by Reginald Rose
Oedipus Rex, by Sophocles
The Red Badge of Courage, by Stephen Crane
A Midsummer Night’s Dream, by William Shakespeare
A Tale of Two Cities, by Charles Dickens
The Old Man and the Sea, by Ernest Hemingway
The Glass Menagerie, by Tennessee Williams
Fallen Angels, by Walter Dean Myers
A Streetcar Named Desire, by Tennessee Williams
The House on Mango Street, by Sandra Cisneros
The Things They Carried, by Tim O’Brien
Anthem, by Ayn Rand
a
a
61
Frequency
Percent
Frankenstein, by Mary Shelley
The Kite Runner, by Khaled Hosseini
The Miracle Worker, by William Gibson
1984, by George Orwell
Ethan Frome, by Edith Wharton
The Hobbit, by J.R.R. Tolkien
Medea, by Euripides
All Quiet on the Western Front, by Erich Maria Remarque
Flowers for Algernon, by Daniel Keyes
The Diary of Anne Frank, by Anne Frank
The Giver, by Lois Lowry
12
12
12
10
10
10
10
10
9
8
8
0.43
0.43
0.43
0.36
0.36
0.36
0.36
0.36
0.32
0.29
0.29
The Secret Life of Bees, by Sue Monk Kidd
The Stranger, by Albert Camus
8
8
0.29
0.29
I Know Why the Caged Bird Sings, by Maya Angelou
A Farewell to Arms, by Ernest Hemingway
8
8
0.29
0.29
The Bean Trees, by Barbara Kingsolver
All Quiet on the Western Front, by Erich Maria Remarque
Beowulf
8
7
0.29
0.25
Brave New World, by Aldous Huxley
7
7
0.25
0.25
The Call of the Wild, by Jack London
The Count of Monte Cristo, by Alexandre Dumas
7
7
0.25
0.25
The Awakening, by Kate Chopin
Othello, by William Shakespeare
7
7
0.25
0.25
Fences, by August Wilson
A Doll’s House, by Heinrick Ibsen
7
7
0.25
0.25
Cold Sassy Tree, by Olive Ann Burns
Siddhartha, by Hermann Hesse
6
6
0.21
0.21
The Pigman, by Paul Zindel
One Flew Over the Cuckoo’s Nest, by Ken Kesey
6
6
0.21
0.21
Monster, by Walter Dean Myers
Inferno, by Dante Alighieri
6
6
0.21
0.21
That Was Then, This Is Now, by S.E. Hinton
Cyrano de Bergerac, by Edmond Rostand
The Jungle, by Upton Sinclair
The Taming of the Shrew, by William Shakespeare
Tuesdays with Morrie, by Mitch Albom
Into the Wild, by Jon Krakauer
The Importance of Being Earnest, by Oscar Wilde
The Chosen, by Chaim Potok
The Freedom Writers Diary, by Erin Gruwell
Inherit the Wind, by Jerome Lawrence and Robert E. Lee
Black Boy, by Richard Wright
Go Ask Alice, by Beatrice Sparks
My Antonia, by Willa Cather
The Good Earth, by Pearl Buck
The Iliad, by Homer
Dr. Jekyll and Mr. Hyde, by Robert Louis Stevenson
6
6
5
5
5
5
5
5
5
6
4
4
4
4
4
4
0.21
0.21
0.18
0.18
0.18
0.18
0.18
0.18
0.18
0.21
0.14
0.14
0.14
0.14
0.14
0.14
a
a
62
Frequency
Percent
The Five People You Meet in Heaven, by Mitch Albom
The Martian Chronicles, by Ray Bradbury
Twelfth Night, by William Shakespeare
Uncle Tom’s Cabin, by Harriet Beecher Stowe
The Metamorphosis, by Franz Kafka
When the Legends Die, by Hal Borland
Wuthering Heights, by Emily Bronte
All the Pretty Horses, by Cormac McCarthy
Hiroshima, by John Hersey
The Alchemist, by Paulo Coelho
The Fountainhead, by Ayn Rand
4
4
4
4
4
4
4
4
4
4
4
0.14
0.14
0.14
0.14
0.14
0.14
0.14
0.14
0.14
0.14
0.14
Bless Me, Ultima, by Rudolfo Anaya
Chinese Cinderella, by Adeline Yen Mah
3
3
0.11
0.11
Maus, by Art Spiegelman
Moby-Dick, by Herman Melville
3
3
0.11
0.11
Slaughterhouse 5, by Kurt Vonnegut
Tears of a Tiger, by Sharon Draper
3
3
0.11
0.11
The Contender, by Robert Lipsyte
Pride and Prejudice, by Jane Austen
3
3
0.11
0.11
Tartuffe, by Moliere
The Battle of Jericho, by Sharon Draper
3
3
0.11
0.11
The Merchant of Venice, by William Shakespeare
Into Thin Air, by John Krakauer
3
3
0.11
0.11
Monster, by Frank E. Peretti
Stargirl, by Jerry Spinelli
3
3
0.11
0.11
Alas, Babylon, by Pat Frank
Persepolis, by Marjane Satrapi
3
3
0.11
0.11
The Absolutely True Diary of a Part-Time Indian, by Sherman Alexie
The Color Purple, by Alice Walker
3
3
0.11
0.11
A Long Way Gone, by Ishmael Beah
Tom Sawyer, by Mark Twain
3
3
0.11
0.11
The War of the Worlds, by H.G. Wells
The Lone Ranger and Tonto Fistfight in Heaven, by Sherman Alexie
The Tempest, by William Shakespeare
The Canterbury Tales, by Geoffrey Chaucer
The Curious Incident of the Dog in the Nighttime, by Mark Haddon
Alice in Wonderland, by Lewis Carroll
The Killer Angels, by Michael Shaara
Ender’s Game, by Orson Scott Card
The Hunger Games, by Suzanne Collins
Crash, by Jerry Spinelli
Like Water for Chocolate, by Laura Esquivel
The Education of Little Tree, by Forrest Carter
A Christmas Carol, by Charles Dickens
A Thousand Splendid Suns, by Khaled Hosseini
Black Elk Speaks, by John Neihardt
3
3
3
3
3
3
3
3
3
2
2
2
2
2
2
0.11
0.11
0.11
0.11
0.11
0.11
0.11
0.11
0.11
0.07
0.07
0.07
0.07
0.07
0.07
a
a
63
Frequency
Percent
King Lear, by William Shakespeare
Murder on the Orient Express, by Agatha Christie
Mythology, by Edith Hamilton
Nothing But the Truth, by Edward Irving Wortis
The Princess Bride, by William Goldman
The Hound of the Baskervilles, by Arthur Conan Doyle
Thin Wood Walls, by David Patneaude
Watchman, by Ian Rankin
The Witch of Blackbird Pond, by Elizabeth George Speare
Farewell to Manzanar, by Jeanne Wakatsuki Houston and James Houston
Color of Water, by James McBride
2
2
2
2
2
2
2
2
2
2
2
0.07
0.07
0.07
0.07
0.07
0.07
0.07
0.07
0.07
0.07
0.07
Cry, the Beloved Country, by Alan Paton
I Am the Cheese, by Robert Cormier
2
2
0.07
0.07
The Invisible Man, by Ralph Ellison
Nothing but the Truth, by Avi
2
2
0.07
0.07
Sold, by Patricia McCormick
The Last Mission, by Nikos Tsiforos
2
2
0.07
0.07
The Last of the Mohicans, by James Fenimore Cooper
The Scarlet Ibis, by James Hurst
2
2
0.07
0.07
Treasure Island, by Robert Louis Stevenson
“Bartleby, the Scrivener,” by Herman Melville
2
2
0.07
0.07
Billy Budd, by Herman Melville
Breathing Under Water, by Alex Flynn
2
2
0.07
0.07
Left to Tell, by Immacullee Ilibagiza
Pygmalion, by George Bernard Shaw
2
2
0.07
0.07
The Gospel According to Larry, by Janet Tashjian
Touching Spirit Bear, by Ben Mikaelsen
2
2
0.07
0.07
Angela’s Ashes, by Frank McCourt
Dandelion Wine, by Ray Bradbury
2
2
0.07
0.07
Heroes, Gods, and Monsters of the Greek Myths, by Bernard Evslin
On the Road, by Jack Kerouac
2
2
0.07
0.07
Rain of Gold, by Victor Villasenor
"The Legend of Sleepy Hollow," by Washington Irving
All My Sons, by Arthur Miller
Daisy Miller, by Henry James
How the Garcia Girls Lost Their Accents, by Julia Alvarez
A Little Piece of Ground, by Elizabeth Laird
House, by Frank Peretti and Ted Dekker
Lonesome Dove, by Larry McMurty
Beloved, by Toni Morrison
Shoeless Joe, by W.P. Kinsella
Heart of Darkness, by Joseph Conrad
East of Eden, by John Steinbeck
Autobiography of Miss Jane Pittman, by Ernest J. Gaines
Catch 22, by Joseph Heller
Sunrise Over Fallujah, by Walter Dean Myers
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
0.07
0.07
0.07
0.07
0.07
0.07
0.07
0.07
0.07
0.07
0.07
0.07
0.07
0.07
0.07
a
a
64
Frequency
Percent
A Lesson Before Dying, by Ernest J. Gaines
And the Earth Did Not Devour Him, by Tomas Rivera
Bad Boy, by Walter Dean Myers
Can’t Get There From Here, by Todd Strasser
Cracker! Best Dog in Vietnam, by Cynthia Kadohata
2
2
2
2
2
2
2
2
2
2
2
0.07
0.07
0.07
0.07
0.07
0.07
0.07
0.07
0.07
0.07
0.07
Culture Warrior, by Bill O’Reilly
Don Quixote, by Miguel de Cervantes
2
2
0.07
0.07
Don’t Mean Nothing, by Susan O’Niell
Ellen Foster, by Kaye Gibbons
2
2
0.07
0.07
Gone, by Michael Grant
If You Come Softly, by Jacqueline Woodson
2
2
0.07
0.07
In Country, by Bobbie Ann Mason
Maus II, by Art Spiegelman
2
2
0.07
0.07
Red Kayak, by Priscilla Cummings
Red Scarf Girl, by Ji-li Jiang
2
2
0.07
0.07
Shattering Class, by Gail Giles
The Bear, by James Oliver Curwood
2
2
0.07
0.07
The Girl with the Pearl Earring, by Tracy Chevalier
The Last Book in the Universe, by Rodman Philbrick
2
2
0.07
0.07
Trifles, by Susan Glaspel
State of Fear, by Michael Crichton
2
2
0.07
0.07
Growing Up With Shoeless Joe, by Joe Thompson
West Side Story, by Arthur Laurents and Leonard Bernstein
2
2
0.07
0.07
Getting Away with Murder, by Chris Crowe
Catherine, Called Birdy, by Karen Cushman
2
1
0.07
0.04
Blue Sky Dream, by David Beers
Does My Head Look Big in This?, by Randa Abdel-Fattah
Dracula, by Bram Stoker
English Creek, by Ivan Doig
Gone with the Wind, by Margaret Mitchell
Jurassic Park, by Michael Crichton
Blood and Chocolate, by Annette Curtis Klause
Out of the Dust, by Karen Hesse
Roll of Thunder, Hear My Cry, by Mildred Taylor
Saturday Night Dirt, by Will Weaver
The Bluest Eye, by Toni Morrison
The Last Battle, by C.S. Lewis
The Left Hand of Darkness, by Ursula K. LeGuin
The Yearling, by Marjorie Kinnan Rawlings
A Lantern in Her Hand, by Beth Streeter Aldrich
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
Swallowing Stones, by Joyce McDonald
A Marriage Proposal, by Anton Chekhov
The Chocolate War, by Robert Cormier
Spoon River Anthology, by Edgar Lee Masters
Jane Eyre, by Charlotte Bronte
Everyman
a
a
65
Frequency
Percent
Blackbird House, by Alice Hoffman
1
0.04
Choice of Weapons, by Gordon Parks
Athena, by John Banvill
1
1
0.04
0.04
Flatland, by Edwin Abbott
St. Dale, by Sharyn McCrumb
1
1
0.04
0.04
Staying Fat For Sarah Burnes, by Chris Crutcher
The Hero with a Thousand Faces, by Joseph Campbell
1
1
0.04
0.04
The Hot Zone, by Richard Preston
No Exit, by Jean-Paul Sartre
1
1
0.04
0.04
Waiting for Godot, by Samuel Beckett
1
0.04
Walkabout, by James Vance Marshall
A Gathering of Old Men, by Ernest J. Gaines
A Light in the Forest, by Conrad Richter
Charlie and the Chocolate Factory, by Roald Dahl
Death Be Not Proud, by John Gunther
Far From the Madding Crowd, by Thomas Hardy
In Our Time, by Ernest Hemingway
My Darling, My Hamburger, by Paul Zindel
The Red Pony, by John Steinbeck
Revolutionary Road, by Richard Yates
Sounder, by William H. Armstrong
Testimony of an Irish Slave Girl, by Kate McCafferty
The Namesake, by Jhumpa Lahiri
And Then There Were None, by Agatha Christie
Cat’s Cradle, by Kurt Vonnegut
Little Prince, by Antoine de Saint-Exuptry
No Promises in the Wind, by Irene Hunt
Reading Lolita in Tehran, by Azar Nafisi
The Children’s Hour, by Lillian Hellman
The Rats, by James Herbert
The Raven, by Edgar Allan Poe
The Sound of Waves, by Yukio Mishima
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
Cannery Row, by John Steinbeck
Cheaper by the Dozen, by Frank Gilbreth, Jr. and Ernestine Gilbreth Carey
1
1
0.04
0.04
Dr. Zhivago, by Boris Pasternak
Holes, by Louis Sachar
1
1
0.04
0.04
The Big Burn, by Jeanette Ingold
October Sky, by Homer H. Hickam, Jr.
1
1
0.04
0.04
The Bookseller of Kabul, by Asne Seierstad
The Crazy Horse Electric Game, by Chris Crutcher
The Ransom of Red Chief, by O’Henry
Who’s Afraid of Virginia Woolf, by Edward Albee
Young Man and the Sea, by Rodman Philbrick
Sorry Right Number, by Stephen King
The Night Thoreau Spent in Jail, by Jerome Lawrence and Robert E. Lee
1
1
1
1
1
1
1
0.04
0.04
0.04
0.04
0.04
0.04
0.04
a
a
66
Frequency
Percent
The Invasion from Mars, by Hadley Cantril
Romiette and Julio, by Sharon Draper
Pigman’s Legacy, by Paul Zindel
Peace Like a River, by Lief Enger
No Country for Old Men, by Cormac McCarthy
Native Son, by Richard Wright
My Forbidden Face: Growing Up Under the Taliban, by Latifa
Les Miserables, by Victor Hugo
If I Die in a Combat Zone, by Tim O’Brien
Bondi’s Brother, by Irving Roth and Edward Roth
A Portrait of the Artist As a Young Man, by James Joyce
1
1
1
1
1
1
1
1
1
1
1
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
Feed, by M.T. Anderson
Green Angel, by Alice Hoffman
1
1
0.04
0.04
Jonathan Livingston Seagull, by Richard Bach
Lesson Before Dying, by Ernest J. Gaines
1
1
0.04
0.04
Silas Marner, by George Eliot
Sir Gawain and the Green Knight
1
1
0.04
0.04
The Last Castle, by Jack Vance
The Sound and the Fury, by William Faulkner
1
1
0.04
0.04
The Travels of Jaimie McPheeters, by Robert Lewis
Walden, by Henry David Thoreau
1
1
0.04
0.04
April Morning, by Howard Fast
Arsenic and Old Lace, by Joseph Kesselring
1
1
0.04
0.04
1776, by David G. McCullough
Blood Meridian, by Cormac McCarthy
1
1
0.04
0.04
Down River, by John Hart
Love Medicine, by Louise Erdrich
1
1
0.04
0.04
Roughing It, by Mark Twain
The Book of Genesis (from the Bible)
1
1
0.04
0.04
The Great Santini, by Pat Conroy
Three Cups of Tea, by Greg Mortenson and David Oliver Relin
1
1
0.04
0.04
Crandel, by John Barnes
Journey of the Sparrows, by Fran Leeper Buss
Kindred, by Octavia Butler
Pudd’nhead Wilson, by Mark Twain
River’s End, by Nora Roberts
The Fantasticks, by Tom Jones
The Hoopster, by Alan Lawrence Sitomer
The Way to Rainy Mountain, by N. Scott Momaday
Whale Talk, by Chris Crutcher
A Painted House, by John Grisham
Seedfolks, by Paul Fleischman
I Capture the Castle, by Dodie Smith
A Tree Grows in Brooklyn, by Betty Smith
Tender Is the Night, by F. Scott Fitzgerald
Perks of Being a Wallflower, by Stephen Chbosky
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
a
a
67
Frequency
Percent
Paradise Lost, by John Milton
Bud, Not Buddy, by Christopher Paul Curtis
Cold Mountain, by Charles Frazier
Lost Horizon, by James Hilton
Man of La Mancha, by Dale Wasserman
Ulysses, by James Joyce
Up From Slavery, by Booker T. Washington
Z for Zachariah, by Robert C. O’Brien
Cats, by Andrew Lloyd Weber
A Connecticut Yankee in King Arthur’s Court, by Mark Twain
Song of Solomon (from the Bible)
1
1
1
1
1
1
1
1
1
1
1
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
On the Beach, by Nevil Shute
145th Street, by Walter Dean Myers
1
1
0.04
0.04
American Born Chinese, by Gene Luen Yang
As I Lay Dying, by William Faulkner
1
1
0.04
0.04
Candide, by Voltaire
Civilization and Its Discontents, by Sigmund Freud
1
1
0.04
0.04
Copper Sun, by Sharon Draper
Dawn, by Elie Wiesel
1
1
0.04
0.04
Deathwatch, by Robb White
Dreamland, by Sarah Dessen
1
1
0.04
0.04
Endurance, by S. L. Viehl
Enemy of the People, by Henrik Ibsen
1
1
0.04
0.04
Fault Line, by Janet Tashjian
Join In, by Donald A. Gallo
1
1
0.04
0.04
Life of Pi, by Yann Martel
Money Hungry, by Sharon Flake
1
1
0.04
0.04
Never Cry Wolf, by Farley Mowat
Nightjohn, by Gary Paulsen
1
1
0.04
0.04
Notes from the Underground, by Fyodor Dostoyevsky
Out of Dust, by Karen Hesse
1
1
0.04
0.04
River, by Skyla Dawn Cameron
Sarny, by Gary Paulsen
Stuck in Neutral, by Terry Trueman
Tevye and His Daughters, by Sholom Aleichem
The Cay, by Theodore Taylor
The Heart Is a Lonely Hunter, by Carson McCullers
The House Behind the Cedars, by Charles Waddell Chesnutt
The Joy Luck Club, by Amy Tan
The Little Foxes, by Lillian Hellman
The Skin I’m In, by Sharon Flake
The Sun Also Rises, by Ernest Hemingway
Thirteen Reasons Why, by Jay Asher
White Fang, by Jack London
Something for Joey, by Richard E. Peck
A Child Called It, by Dave Pelzer
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
a
a
68
Frequency
Percent
1
1
1
1
1
1
1
1
1
145
2800
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
0.04
5.18
100.00
All the King’s Men, by Robert Penn Warren
Driving Miss Daisy, by Alfred Uhry
Godless, by Pete Hautman
In Cold Blood, by Truman Capote
Summer of My German Soldier, by Bette Greene
The Day No Pigs Would Die, by Robert Peck
The Girl Who Loved Tom Gordon, by Stephen King
The Turn of the Screw, by Henry James
The Westing Game, by Ellen Raskin
Not a novel/play/long poem
Total
a
a
APPENDIX G:
Major Titles or Authors of Short Stories, Poems, and
Non-Fiction Assigned
G1: Short Story Authors Mentioned 15 or More Times
Short Story Authors Assigned
N
% of all authors assigned
Poe
251
9.5
Bradbury
95
3.6
Twain
89
3.4
Hawthorne
84
3.2
Connell
83
3.1
Maupassant
64
2.4
Hemingway
63
2.4
O. Henry
59
2.2
Irving
58
2.2
Faulkner
58
2.2
Saki
49
1.9
Walker
42
1.6
Hurst
41
1.6
London
40
1.5
O’Connor
40
1.5
Fitzgerald
39
1.5
O’Brien
36
1.4
Hughes
36
1.4
Chopin
35
1.3
Jackson
35
1.3
Tan
35
1.3
Vonnegut
34
1.3
Steinbeck
34
1.3
Benet
30
1.1
Crane
29
1.1
Bierce
28
1.1
Cather
28
1.1
Dahl
26
1.0
Thurber
24
0.9
Porter
23
0.9
Updike
23
0.9
Cisneros
23
0.9
Lessing
23
0.9
Welty
21
0.8
Angelou
20
0.8
Harte
19
0.7
Dickinson
19
0.7
Thoreau
16
0.6
a
a
69
70
G2: Short Story Authors Mentioned 15 or More Times by Grade Level
Grade
Grade Grade
Author
9
10
11
Total
Poe
81
69
101
251
Bradbury
35
57
3
95
Twain
12
20
57
89
4
11
69
84
Connell
73
3
7
83
Maupassant
45
13
6
64
Hawthorne
Hemingway
8
11
44
63
45
14
0
59
Irving
2
8
48
58
Faulkner
1
6
51
58
O. Henry
Saki
25
23
1
49
Walker
2
30
10
42
Hurst
40
1
0
41
London
10
11
19
40
O’Connor
4
7
29
40
Fitzgerald
1
7
31
39
O’Brien
8
14
14
36
Hughes
22
1
13
36
Chopin
1
4
30
35
Jackson
10
15
10
35
Tan
9
19
7
35
Vonnegut
6
24
4
34
Steinbeck
3
7
24
34
Benet
2
26
2
30
Crane
0
6
23
29
Bierce
3
6
19
28
Cather
0
8
20
28
Dahl
9
17
0
26
11
9
4
24
Porter
0
2
21
23
Updike
2
7
14
23
Cisneros
7
8
8
23
Lessing
5
18
0
23
Welty
1
0
20
21
Angelou
9
8
3
20
Harte
2
3
14
19
Dickinson
0
4
15
19
Thoreau
0
1
15
16
Thurber
a
a
G3: Major Poets Mentioned 15 or More Times
Major Poets Assigned
Frequency
Robert Frost
263
Emily Dickinson
228
Edgar Allan Poe
169
Langston Hughes
161
Walt Whitman
147
William Shakespeare
140
Maya Angelou
63
e.e. cummings
61
Carl Sandburg
54
Henry Wadsworth Longfellow
43
Anne Bradstreet
35
T.S. Eliot
31
William Wordsworth
25
Edgar Lee Masters
25
William Cullen Bryant
22
Nicki Giovanni
21
Sylvia Plath
21
Ralph Waldo Emerson
21
William Carlos Williams
21
Gwendolyn Brooks
19
Paul Dunbar
19
Pablo Neruda
18
Theodore Roethke
17
Ezra Pound
17
Edward Robinson
16
Homer
15
Robert Browning
15
John Keats
15
Pat Mora
15
Other Poets
815
a
a
71
72
G4: Major Poets Mentioned 15 or More Times by Grade Level
Grade
Grade
Grade
Major Poets Assigned
9
10
11
Robert Frost
87
80
96
Emily Dickinson
49
66
113
Edgar Allan Poe
74
42
53
Langston Hughes
59
45
57
Walt Whitman
19
23
105
William Shakespeare
67
55
18
Maya Angelou
31
13
19
e.e. cummings
16
28
17
Carl Sandburg
19
13
22
Henry Wadsworth Longfellow
4
8
31
Anne Bradstreet
2
6
27
T.S. Eliot
2
7
22
William Wordsworth
7
7
11
Edgar Lee Masters
4
7
14
William Cullen Bryant
0
3
19
Nicki Giovanni
7
9
5
Sylvia Plath
3
6
12
Ralph Waldo Emerson
0
2
19
William Carlos Williams
1
4
16
Gwendolyn Brooks
2
11
6
Paul Dunbar
7
2
10
Pablo Neruda
2
14
2
Theodore Roethke
3
12
2
Ezra Pound
2
5
10
Edward Robinson
0
1
15
Homer
10
4
1
Robert Browning
2
5
8
John Keats
2
6
7
Pat Mora
4
11
0
Other Poets
183
325
307
Total
263
228
169
161
147
140
63
61
54
43
35
31
25
25
22
21
21
21
21
19
19
18
17
17
16
15
15
15
15
815
G5: Book-length Works of Non-Fiction Assigned 15 or More Times
Literary Non-Fiction Assigned
The Narrative of Frederick Douglass
The Autobiography of Benjamin Franklin
I Have a Dream, by Martin Luther King, Jr.
Other specific works of literary non-fiction
Works selected by students
Works from the anthology
No specific title mentioned
a
Frequency
74
33
21
17
15
311
26
46
341
Percent
8.4
3.7
2.4
1.9
1.7
35.2
2.9
5.2
38.6
a
73
G6: Book-Length Works of Non-Fiction Assigned 15 or More Times by Grade
Grade
9
Grade
10
Grade
11
Total
18
43
13
74
The Narrative of Frederick Douglass
2
3
28
33
The Autobiography of Benjamin Franklin
1
0
20
21
I Have a Dream, by Martin Luther King, Jr.
10
3
4
17
0
2
13
15
Other specific works of literary non-fiction
59
93
158
310
Works selected by students
10
7
9
26
Works from an anthology
18
10
18
46
No specific title mentioned
94
100
147
341
Total
212
261
410
883
Literary Non-Fiction Assigned
G7: Major Authors of Essays and Speeches Assigned 15 Times or More
Frequency
Martin Luther King, Jr.
Percent
231
15.2
Abraham Lincoln
72
4.8
Thomas Jefferson
56
3.7
Ralph Waldo Emerson
53
3.5
Benjamin Franklin
53
3.5
Henry David Thoreau
50
3.3
Patrick Henry
48
3.2
Barack Obama
41
2.7
Thomas Paine
37
2.4
John F. Kennedy
32
2.1
Maya Angelou
31
2.0
Frederick Douglass
23
1.5
Elie Wiesel
16
1.1
Newspaper and Magazine Articles
16
1.1
Mark Twain
15
1.0
Jonathan Edwards
15
1.0
Malcolm X
15
1.0
711
46.9
1,515
100.0
Other Authors
Total
a
a
74
G8: Major Authors of Essays and Speeches Assigned 15 or More Times by Grade
Major Authors of Essays
Assigned
Martin Luther King, Jr.
Grade
9
84
Grade
10
76
Grade
11
71
Total
231
Abraham Lincoln
16
13
43
72
Thomas Jefferson
3
8
45
56
Ralph Waldo Emerson
1
7
45
53
Benjamin Franklin
1
8
44
53
Henry David Thoreau
2
7
41
50
Patrick Henry
3
7
38
48
Barack Obama
11
16
14
41
Thomas Paine
2
5
30
37
John F. Kennedy
9
7
16
32
Maya Angelou
13
11
7
31
Frederick Douglass
0
3
20
23
Elie Wiesel
5
9
2
16
Newspaper and Magazine
Articles
2
8
6
16
Mark Twain
2
4
9
15
Jonathan Edwards
0
3
12
15
Malcolm X
3
5
7
15
Other Authors
158
256
297
711
Total
315
453
747
1,515
a
a
75
APPENDIX H:
General Informational and Technical Texts Mentioned
1. Consumer and work place documents
2. Articles, editorials, and op-eds in newspapers and magazines
3. Reference materials: encyclopedias, atlases, dictionaries, Bartlett’s Book of
Quotations
4. Employment documents, e.g., job applications, resume writing
5. Grammar handbooks
6. Research Paper handbooks
7. Style manuals, e.g., The Elements of Style, by E. B. White, MLA Handbook
8. Test preparation materials, e.g., Kaplan materials
9. Practical ‘how to’ materials
10. Citizenship materials
*Legal codes in Ohio
*How the law works
*How to sign up to vote
*How to understand the law
*Informational texts by the State of California
*Safe driving practices
*Tax information
a
a
76
a
a
a
a
77

A PUBLICATION OF THE ALSCW Literary Study in Grades 9, 10

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